# 


Reaming  anb  ^Cabor. 

LIBRARY 


f 


a 


OF  THE  JA 

University  of  Illinois,  f 

CLASS.  BOOK.  VOLUME.  ft 

111  -W6I  £ 

Books  are  not  to  be  taken  from  the  Library. 

Accessions  No .  I 


'  J  : 

THE  S.  &  A. 
JThOT ’OQIMPHK 
SERIES. 

y/  Edited  by 

W.  I.  LINCOLN  ADAMS.  \c) 

No.  i.  THE  PHOTOGRAPHIC  AMATEUR. 


\ 


By  J.  Traill  Taylor.  A  Guide  to  the  Young  Photographer,  either  Pro¬ 
fessional  or  Amateur.  (Second  Edition.)  Paper  covers .  $o  50 

No.  5.  PHOTOGRAPHY  WITH  EMULSIONS. 


By  Capt.  W.  De  W.  Abney,  R.E.,  F.R.S.  A  treatise  on  the  theory  and 
practical  working  of  Gelatine  and  Collodion  Emulsion  Processes.  (Second 
Edition.)  Paper  covers  .....  .  75 


No.  7.  THE  flODERN  PRACTICE  OF  RETOUCHING. 

As  practiced  by  M.  Piquepe,  and  other  celebrated  experts.  (Ninth 
Edition.)  Paper  covers,  50  cents  ;  Library  Edition .  75 


No.  8.  THE  SPANISH  EDITION  OF  HOW  TO  MAKE  PICTURES. 

Ligeras  Lecciones  sobre  Fotografia  Dedicados  a  los  Aficionados,  Cloth 
bound,  75  cents.  Paper  covers .  50 

No.  12.  HARDWICH’S  PHOTOGRAPHIC  CHEMISTRY. 

A  manual  of  Photographic  Chemistry,  theoretical  and  practical.  (Ninth 
Edition)  Edited  by  J.  Traill  Taylor.  Leatherette  binding .  200 

No.  13.  TWELVE  ELEMENTARY  LESSONS  ON  SILVER  PRINTING. 

(Second  Edition.)  Paper  covers  .  50 

No.  14.  ABOUT  PHOTOGRAPHY  AND  PHOTOGRAPHERS. 

A  series  of  interesting  essays  for  the  studio  and  study,  to  which  is  added 
European  Rambles  with  a  Camera.  By  H.  Baden  Pritchard,  F.C.S. 
Paper  covers,  50  cents.  Cloth  bound .  75 

No.  15.  THE  CHEMICAL  EFFECT  OF  THE  SPECTRUM. 

By  Dr.  J.  M.  Eder.  Cloth  bound,  50  cents.  Paper  covers .  25 

No.  16.  PICTURE  MAKING  BY  PHOTOGRAPHY. 

By  H.  P.  Robinson,  author  of  Pictorial  Effect  in  Photography.  Written 
in  popular  form  and  finely  illustrated.  Library  Edition,  $1.00.  Paper 
covers  .  75 

No.  20.  DRY  PLATE  MAKING  FOR  AMATEURS. 

By  George  L.  Sinclair,  M.D.  Pointed,  practical  and  plain.  Leatherette 
binding .  50 

No.  21.  THE  AMERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TIMES  ALflANAC  FOR  1887. 

(Second  Edition.)  Paper  cover  (postage,  12  cents  additional) . $0  50 

Library  Edition  (postage,  12  cents  additional) .  1  00 

No.  22.  PHOTOGRAPHIC  PRINTING  METHODS. 

By  the  Rev.  W.  H.  Burbank.  A  Practical  Guide  to  the  Professional  and 
Amateur  Worker.  Cloth  bound.  (Third  Edition) .  1  00 

No.  23.  A  HISTORY  OF  PHOTOGRAPHY. 

Written  as  a  practical  guide  and  an  introduction  to  its  latest  developments. 
By  W.  Jerome  Harrison,  F.G.S.,  and  containing  a  frontispiece  of  the 
author.  Cloth  bound .  1  00 


The  S.  &  A.  Photographic  Series 


No.  24. 


No.  25. 


No.  26. 


No.  27. 

No.  29. 

No.  30. 

No.  32. 
No.  33- 

No.  34. 

No.  35. 
No.  36. 

No.  37. 

No.  38. 
No.  39. 


THE  AHER1CAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TIMES  ALflANAC  FOR  1888. 


Illustrated.  (Second  Edition.)  Paper  (by  mail,  12  cents  additional)  50 
Library  Edition  (by  mail,  12  cents  additional) .  1  00 

THE  PHOTOGRAPHIC  NEGATIVE. 


A  Practical  Guide  to  the  Preparation  of  Sensitive  Surfaces  by  the  Calotype, 
Albumen,  Collodion,  and  Gelatine  Processes,  on  Glass  and  Paper,  with 
Supplementary  Chapter  on  Development,  etc.,  by  the  Rev.  W.  H.  Burbank. 
Cloth  bound.  Reduced  from  $1.50  to .  1  00 

THE  PHOTOGRAPHIC  INSTRUCTOR  FOR  THE 
PROFESSIONAL  AND  AMATEUR. 

Being  the  comprehensive  series  of  Practical  Lessons  issued  to  the  Students 
of  the  Chautauqua  School  of  Photography.  Revised  and  enlarged.  Edited 
by  W.  I.  Lincoln  Adams,  with  an  Appendix  by  Prof.  Chas.  Ehrmann. 


(Fifth  Edition.)  Paper  covers .  1  00 

Library  Edition .  1  50 


LETTERS  ON  LANDSCAPE  PHOTOGRAPHY. 

By  H.  P.  Robinson.  Finely  illustrated  from  the  author’s  own  photographs 
and  containing  a  Photogravure  frontispiece  of  the  author.  Cloth  bound. 

.  '  50 

THE  PROCESSES  OF  PURE  PHOTOGRAPHY. 

By  W.  K.  Burton  and  Andrew  Pringle.  A  standard  work,  very  complete 
and  freely  illustrated.  Price,  in  paper  covers,  $2  00.  Library  Ed.,  2  50 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

By  H.  P.  Robinson.  A  new  edition.  Illustrated.  Mr.  Robinson’s  first 


and  best  work.  Cloth  bound .  1  50 

PRACTICAL  PHOTO=MICROGRAPHY. 

By  Andrew  Pringle.  Fully  illustrated.  Cloth  bound .  2  50 

THE  AHERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TIMES  ALHANAC  FOR  1890. 

Paper  cover  (by  mail,  14  cents  additional) .  50 

Library  Edition  (by  mail,  14  cents  additional) .  1  00 

THE  OPTICAL  LANTERN. 

Illustrated.  By  Andrew  Pringle.  Paper  covers,  $1.00. 

Cloth  bound . .  1  50 

LANTERN  SLIDES  BY  PHOTOGRAPHIC  METHODS. 

By  Andrew  Pringle.  Paper  covers  75  cents.  Cloth  bound .  1  25 

THE  AHERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TIHES  ALHANAC  FOR  1891. 

Paper  covers  (by  mail,  15  cents  additional) .  50 

Library  Edition  (by  mail,  15  cents  additional) . .  .  1  00 

Cyclopaedic  Index  for  1891  Annual . . .  10 

PHOTOGRAPHIC  OPTICS. 

A  Text-Book  for  the  Professional  and  Amateur.  By  W.  K.  Burton. 
Paper  covers,  $1.00.  Library  Edition . $1  50 

PHOTOGRAPHIC  REPRODUCTION  PROCESSES. 


Illustrated.  By  P.  C.  Duchochois.  Paper  covers,  $1.00.  Cloth...  1  50 
EL  INSTRUCTOR  FOTOGRAFICO. 

Paper  covers,  $1.00.  Library  Edition 


I  50 


The  S.  &  A.  Photographic  Series. 


No.  41.  THE  CHEMISTRY  OF  PHOTOGRAPHY. 

By  W.  Jerome  Harrison.  Cloth  bound .  3  00 

No.  42.  PICTURE  HAKING  IN  THE  STUDIO. 

By  H.  P.  Robinson.  Paper  covers,  50  cents.  Cloth  bound  (Library 


Edition) .  1  00 

No.  43-  THE  AMERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TIMES  ALMANAC  FOR  2893. 

Edited  by  W.  I.  Lincoln  Adams. 

Paper  covers  (postage  extra,  15  cents) .  50 

Cloth  bound  (Library  Edition)  (postage  extra,  15  cents) .  1  00 

No.  44.  THE  LIGHTING  IN  THE  PHOTOGRAPHIC  STUDIO. 

By  P.  C.  Duchociiois.  A  new  edition.  Paper  covers,  75  cents.  Cloth 
bound  (Library  Edition) .  1  00 

No.  45.  THE  GRAMMAR  OF  PHOTOENGRAVING. 

By  H.  D.  Farquhar.  Illustrated.  The  most  complete  text-book  yet  pub¬ 
lished  on  this  subject.  Price,  in  paper  covers,  $2.00.  Cloth  bound 
(Library  Edition) .  2  50 


No.  46.  INDUSTRIAL  PHOTOGRAPHY. 

Illustrated.  By  P.  C.  Duchochois.  Being  a  description  of  the  various 
processes  of  producing  Indestructible  Photographic  Images  on  Glass,  Por¬ 
celain,  Metal,  and  many  other  substances.  Paper  covers,  50  cents.  Cloth 


bound . .  1  00 

No.  47.  THE  AMERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
PHOTOGRAPHIC  TIMES  ALMANAC  FOR  1894* 

Edited  by  W.  I.  Lincoln  Adams. 

Paper  covers  (postage  extra,  15  cents) .  50 

Cloth  bound  (Library  Edition)  (postage  extra,  15  cents) .  1  00 

No.  48.  ARISTOTYPES  AND  HOW  TO  MAKE  THEN. 

Giving  a  complete  description  of  the  manufacture  and  treatment  of  Gelatino 
and  Collodio-Chloride  Papers.  By  Walter  E.  Woodbury.  Illustrated. 
Paper  covers,  $1.50.  Library  Edition .  2  00 


No.  49.  THE  ENCYCLOPEDIC  DICTIONARY  OF  PHOTOGRAPHY* 

Containing  over  2,000  references  and  about  400  illustrations.  By  Walter 
E.  Woodbury.  In  preparation. 

No.  50.  THE  AMERICAN  ANNUAL  OF  PHOTOGRAPHY  AND 
HOT  OGRAPHIC  TIMES  ALMANAC  FOR  1895. 

With  over  200  illustrations.  Edited  by  Walter  E.  Woodbury,  Editor  of 
“  The  Photographic  Times.”  Paper  covers,  50  cents  (postage  extra).  Cloth 
bound  (Library  Edition)  (postage  e^tra,  15  cents) . $1.00 

No.  51.  THE  PHOTOGRAVURE. 

By  Henry  R.  Blaney.  A  very  complete  and  practical  book,  written  by  an 
Expert.  Paper  covers,  50  cents.  Cloth  bound  (Library  Edition) _ $1.00 

No.  52.  THE  PLATINOTYPE:  ITS  PREPARATION  AND  MANIPULATION. 

By  Capt.  W.  de  W,  Abney  and  Lyonel  Clark.  Fully  illustrated.  174 
Pages . $1.25 


For  sale  by  all  dealers  in  Photographic  goods,  booksellers,  and  sent,  post-paid,  on 
receipt  of  price,  by  the  publishers, 


The  Scovill  &  Adams  Company  of  N.  Y., 


Send  for  Book  Catalogue. 


423  Broome  Street,  NEW  YORK  CITY. 


A  Selected  List  of  Books 

From  the  Scovill  &  Adams  Co ’s  Book  Catalogue. 

Amateur  Photography.  PCopyPer 

A  Practical  Guide  for  the  Beginner.  By  W.  I.  Lincoln  Adams.  Illustrated.  Paper  covers,  50c. ; 
cloth  bound . $1  00 

Lantern  Slides  and  How  to  Make  Them, 

By  A.  R.  Dresser.  A  new  book,  very  complete  and  practical .  .  25 

Photography  at  Night. 

By  P.  C.  Duchochois.  Illustrated.  108  pp.  Paper  covers .  1  00 

History  of  the  Kinetoscope. 

By  W.  K.  L.  and  Antonia  Dickson  With  an  Introduction  by  the  inventor,  Thomas  A.  Edison. 
Fully  illustrated.  50  pages . .  25 

The  Knack. 

Written  expressly  to  help  the  beginner  in  perplexity,  reduced  to .  26 

Photographic  Lenses ;  Their  Choice  and  Use. 

By  J.  H.  Dallmeyer.  A  special  edition,  edited  for  American  photographers.  In  paper  covers  25 

The  Chemistry  of  Photography. 

By  Prof.  Raphael  Meldola . .  2  00 

The  Photographic  Image. 

By  P.  C.  Duchochois.  A  Theoretical  and  Practical  Treatise  on  Development.  Paper  covers.. .  1  50 
Cloth  bound . .  .  2  00 

The  Ferrotyper’s  Guide. 

For  the  ferrotyper,  this  is  the  only  standard  work.  Seventh  thousand .  75 

The  Photographic  Studios  of  Europe. 

By  H.  Baden  Pritchard,  F.C.S.  Cloth  bound,  $1.00;  paper  covers .  50 

Art  of  Making  Portraits  in  Crayon  on  Solar  Enlargements. 

(Third  edition.)  By  E.  Long . . .  1  00 

History  and  Hand=Book  of  Photography. 

With  seventy  illustrations.  Cloth  bound,  reduced  to .  50 

Crayon  Portraiture. 

Complete  instructions  for  making  Crayon  Portraits  on  Crayon  Paper  and  on  Platinum,  Silver  and 
Bromide  Enlargements;  also  directions  for  the  use  of  Transparent  Liquid  Water  Colors,  and  for 
making  French  Crystals.  By  J.  A.  Barhydt.  A  new  edition.  Paper  covers,  50c.  ;  cloth  bound  1  00 

Art  Recreations. 

Ladies’  popular  guide  in  home  decorative  work,  with  a  chapter  on  photography.  Edited  by  Marion 
Kemble .  . .  •  .  1  00 

American  Carbon  Manual. 

For  those  who  want  to  try  the  carbon  printing  process,  this  work  gives  the  most  detailed  information. 
Cloth  bound.  Reduced  to . .  50 

Manual  de  Fotografia. 

By  Augustus  Le  Plongeon.  (Hand-book  for  Spanish  Photographers.) .  100 

Secrets  of  the  Dark  Chamber. 

By  D.  D.  T.  Davie .  50 

The  Photographer’s  Book  of  Practical  Foimulas. 

Complied  by  Dr.  W.  D.  Holmes,  Ph.B.,  and  E.  P.  Griswold.  Paper  covers,  reduced  from  75c.  to 
30c. ;  cloth  bound,  reduced  from  $1.50  to .  00 

American  Hand=Book  of  the  Daguerrotype. 

By  S.  D.  Humphrey.  (Fifth  edition.)  This  book  contains  the  various  processes  employed  in  taking 
heliographic  impressions  ...  .  .  .  2o 


Digitized  by  the  Internet  Archive 
in  2017  with  funding  from 

University  of  Illinois  Urbana-Champaign  Alternates 


https://archive.org/details/photoengravingbyOOwhit 


Photographed  by  Prof.  E.  Warren  Clark. 


Negative  on  a  Carbutt  Half-Tone  Process  Plate. 


DAIBUTSU ;  OR,  GREAT  BUDDHA,  KAMAKURA,  JAPAN. 


PHOTO -ENGRAVING 


BY  THE 

HALF-TONE  ENAMEL 
PROCESS. 

By  ROBERT  WHITTET. 


EDITED  BY  A.  C.  LAMOUTTE. 


ILLUSTRATED. 


New  York  : 

The  Scovill  &  Adams  Co.  of  New  York. 
1895. 


Copyright,  1895. 

The  Scovill  &  Adams  Company, 
of  New  York. 


\la^  e>\% 


| 

5 


CONTENTS 


Page 

Preface  by  the  Publishers . 5 

Introduction  by  the  Editor .  7 

Initiatory  Operations .  9 

Cleaning  Glass .  io 

Albumenizing  Glass .  n 

Flowing  the  Plate .  12 

Flowing  Collodion .  .  13 

The  Silver  Bath .  14 

The  Dark-Room .  16 

Sensitizing  the  Plate .  17 

The  Screen .  18 

The  Camera .  20 

The  Lens .  21 

Exposure  Example .  26 

Development .  27 

Turning  the  Film .  31 

Preparation  for  Etching .  33 

Polishing  Metal .  33 

The  Enameling  Solution . 34 

Sensitizing  the  Metal  Plate .  35 

Preparations  for  Printing .  . # _ 37 

The  Printing .  38 

Development  of  Metal  Plate .  39 

Burning  In . 40 

The  Etching .  41 

Enameling  on  Zinc . 41 

Appendix . * .  51 


PREFACE. 


HE  following  trustworthy  account  of  the  Half-tone 


J  Process  by  the  Enamel  Method  w’as  written  by  Mr. 
Robert  Whittet  and  offered  in  the  competition  inaugurated 
by  The  Photographic  Times  for  the  best  article,  or  series  of 
articles,  on  this  important  subject.  There  were  many  com- 
petitors,  and  Mr.  Whittet’s  paper  was  selected  by  competent 
judges  as  the  most  valuable  and  comprehensive  account.  It 
was  published  in  the  September  (1895)  issue  of  The  Photo¬ 
graphic  Times ,  and  the  demand  for  it  in  that  number  was  so 
great  that  the  edition  was  quickly  exhausted.  As  the  maga¬ 
zine  is  printed  from  type,  duplicates  could  not  be  obtained. 
The  practical  value  of  the  article  being  so  great,  and  the 
demand  for  it  continuing,  the  publishers  were  induced  to 
reprint  it  in  book  form,  so  that  all  who  desired  a  copy  could 
obtain  it.  This  puts  it  in  a  more  convenient,  as  well  as  per¬ 
manent,  form,  and  will  consequently  be  of  greater  value  to  the 
practical  reader.  It  has  been  carefully  gone  over  by  the 
editor,  who  writes  the  Introduction,  and  an  Appendix  has 
been  added  by  him  which  will  be  found  of  practical  value  by 
photo-engravers. 


INTRODUCTION. 


IT  will  be  well  to  examine  what  is  understood  by  “half-tone” 
in  connection  with  the  production  of  typographical  plates 
by  photo-engraving  methods. 

The  first  experimenters  perceived  at  once  that,  although  it 
was  very  easy  to  produce  photographic  images  on  metal 
plates,  they  could  not  be  transformed  into  relief  plates  except 
when  the  subject  to  be  reproduced  was  composed  simply  of 
black  and  white  ;  the  black  being  represented  by  the  relief  por¬ 
tions  of  the  plate,  and  the  white  by  the  hollow  portions.  Hence, 
when  the  model  was  made  up  of  lines  like  a  steel  or  wood 
engraving,  or  a  pen  drawing,  it  was  easy  to  make  a  facsimile 
of  these  lines  by  photographic  mechanical  processes,  but  an 
ordinary  photograph  from  nature  contains,  besides  the  blacks 
and  whites,  middle  tints,  which  give  life  and  relief  to  the 
image.  The  great  trouble  has  been,  therefore,  how  to  pre¬ 
serve  the  middle  tints,  or  half  tones — whence  the  process 
which  solved  the  difficulty  derived  its  name. 

It  was  found  that  in  graining  the  image — that  is  to  say, 
transforming  it  into  a  multitude  of  dots — the  middle  tints 
could  be  preserved.  This  was  accomplished  by  interposing 
a  transparent  screen — a  piece  of  glass  ruled  by  machine— 
between  the  sensitive  plate  and  the  lens.  Naturally,  the  inter¬ 
position  of  a  screen  of  this  kind  divides  the  image  in  a  series  of 
dots.  If  these  dots  were  all  of  the  same  dimensions  as  those  of 
the  screen  there  would  be  no  image ;  but,  fortunately  for  the 
success  of  the  half-tone  process,  the  diffraction  of  light  comes 
to  its  rescue ;  for  the  rays  emanating  from  the  lens  in  going 


8 


INTRODUCTION. 


through  the  screen  expand  according  to  their  intensity  ;  also, 
in  the  places  where  light  is  more  intense,  as  in  the  whites  of 
the  model,  the  dots  formed  are  larger  than  the  interstices  of 
the  screen ;  in  the  places  where  the  light  is  of  medium  inten¬ 
sity  the  dots  are  naturally  of  medium  dimensions,  while  on 
the  dark  places  the  dots  are  not  larger  than  the  interstices 
of  the  screen;  or,  as  experience  demonstrates,  they  do  not 
appear  at  all,  leaving  those  parts  completely  transparent 
in  the  negative.  If  such  a  negative  is  printed  on  zinc  it  will 
give  a  good  reproduction  of  the  gradation  of  tints  in  the 
original. 

With  all  its  advantages  the  half-tone  process  lingered  some¬ 
what  in  obscurity  owing  to  the  tediousness  and  uncertainty  of 
the  bitumen  method,  until  the  Americans,  discovering  its 
possibilities  and  great  commercial  value,  undertook  to  invent 
the  means  of  producing  the  desired  results  with  certainty,  and 
at  the  same  time  attaining  the  best  artistic  effect. 

The  outcome  of  these  researches  was  the  enamel  process 
which  Mr.  Whittet  describes  so  clearly  in  the  following  pages. 

The  art  of  photo-engraving  is  practically,  therefore,  an 
American  art,  for  it  has  in  no  other  country  reached  the  same 
degree  of  perfection. 

A  great  deal  of  this  success  is  due  to  the  better  quality  of 
apparatus  used  in  connection  therewith,  and  we  would  advise 
that  great  care  be  taken  in  the  selection  of  the  proper  camera 
and  lens. 

A.  C.  L. 


PHOTO-ENGRAVING  BY  THE  PHOTO¬ 
ENAMEL  PROCESS. 


PHOTOGRAPHERS  will  no  doubt  agree  that,  considering, 
its  recent  introduction,  the  extended  use  of  process 
engraving  has  been  most  marvelous,  and  no  less  so  has  been  its 
development  in  excellence.  Within  the  last  decade  it  was  a 
secret  watchfully  guarded  by  the  few  who  had  laboriously 
studied  and  experimented  until  the  reward  of  success  was 
attained;  but  the  results  were  so  manifestly  beautiful  and 
interesting  that  inquisitorial  curiosity  was  not  slow  to 
set  itself  to  discover  the  secret  methods  of  the  early 
manipulators,  and  with  so  much  success  that  new  operators 
have  started  in  every  direction,  each  adding  some  new 
feature,  or  some  fancied  new  wrinkle,  peculiar  and  secret  to 
himself,  until  the  art  has  leapt  into  importance  and  excellence 
with  such  rapid  bounds  that  there  has  been  no  time  to  acquire 
a  history.  Notwithstanding  the  extreme  privacy  with  which 
the  process  has  been  guarded,  there  is  not  so  much  of  difficulty 
in  it  but  that  it  may  be  readily  acquired  by  any  one  willing  to 
put  himself  to  a  careful  study  of  the  principles  of  the  art,  with 
sufficient  mechanical  turn  of  mind  and  dexterity  of  hand,  and 
the  exercise  of  patience  and  perseverance,  until  it  is  attained. 
In  the  following  pages  is  presented  a  description  of  the  proc¬ 
ess  so  full  in  the  various  operations,  and  of  the  essential  and 
necessary  minutiae,  that  a  careful  attention  to  them  can  hardly 
fail  to  bring  out  successful  results. 

Initiatory  Operations. — The  process  in  its  entirety  con¬ 
sists  of  three  distinct  operations:  1.  Making  the  negative. 
2.  The  preparation  of  the  metal  plate,  zinc  or  copper,  to  be 
engraved.  3.  The  etching ;  to  which  might  be  added  a  fourth, 


10 


PHOTO- ENGKAVING  BY  THE 


the  mounting  of  a  plate  on  a  wood  block  preparatory  to  print¬ 
ing,  but  which  is  so  entirely  dissimilar  from  the  process  of 
engraving,  and  so  purely  mechanical,  that  it  may  scarcely  be 
considered  as  belonging  to  it  further  than  necessary  to  make 
available  to  its  ultimate  purpose  the  plate  which  has  been 
already  completed  so  far  as  engraving  is  concerned.  These 
several  operations  we  will  endeavor  to  explain  in  as  minute 
and  practical  a  manner  as  possible,  both  as  to  formulae  and 
method  of  manipulation,  so  that  the  tyro  may  attain  to  a 
degree  of  excellence  proportionate  to  his  inteligent  apprehen¬ 
sion  and  diligent  and  persevering  prosecution  of  the  methods 
described. 

The  Negative . — Gelatine  dry -plates  are  now  specially  man¬ 
ufactured  with  a  view  to  suiting  the  process,  and  no  doubt 
when  the  light  employed  is  of  a  character  that  will  secure 
steadiness  and  uniformity — as  when  the  electric  arc  light  can 
be  made  available — these  will  be  ound  very  convenient;  but 
as  the  novice  will  probably  be  dependent  on  the  ordinary  light 
from  the  luminary  of  day,  which  is  so  very  variable  and  liable 
to  cloud  and  shadow,  the  dry-plate  would  be  found  too  uncer¬ 
tain  in  result,  and  the  consequent  waste  too  expensive  for  the 
beginner.  He  will  hence  find  it  most  economical  to  adopt  the 
wet-plate  process  of  the  old-time  photographer.  In  prosecu¬ 
tion  of  this  his  first  attention  will  be  to  the  choice  of  glass,  for 
which  he  will  find  crystal  plate,  about  one-eighth  of  an  inch  in 
thickness,  to  be  the  most  suitable,  by  reason  of  its  being 
uniformly  clear  and  free  of  bubbles  and  scratches.  There  are 
other  makes,  however,  of  varying  excellence,  and  it  will  be 
well  to  see  that  what  he  uses  is  of  good  clear  color,  flat,  and  as 
free  of  imperfections  as  he  can  procure  it. 

Cleaning  the  Glass. — Having  procured  the  glass,  the  next 
operation  is  to  have  it  thoroughly  cleaned ;  and  in  this,  asr 
indeed,  in  every  subsequent  part,  scrupulous  cleanliness  is  a 
sine  qua  non  to  success.  This  is  best  effected  by  allowing  it 
to  steep  in  a  strong  lye  for  several  hours,  say  over  night,  and 
after  a  thorough  rubbing  on  both  sides  with  a  piece  of  clean 
coarse  cloth  under  the  tap,  put  it  into  a  dilute  solution  of  nitric 
acid — of,  say,  three  ounces  to  the  gallon  of  water — and  let  lie 


HALF-TONE  ENAMEL  PROCESS. 


11 


for  at  least  half  a  day,  and  none  the  worse  for  a  longer  time. 
From  this  it  should  be  again  washed  and  rubbed  with  the 
canvas  cloth  under  the  tap,  until  it  is  seen  to  be  absolutely 
clean  by  examining  it  toward  the  light.  It  is  sometimes  found 
that  the  water  from  the  public  reservoirs,  from  impurities  held 


in  solution,  leave  a  stain  or  cloud  on  the  plate  after  drying ; 
in  such  case  it  will  be  needful  after  washing  to  give  a  last 
rinsing  in  pure  water,  either  distilled  or  melted  ice,  filtered, 
which  may  be  contained  in  a  dish  laid  conveniently  for  the . 
plate  to  be  laved  in  it. 

Albumenizing  the  Glass. — The  next  operation  is  the  albu- 
menizing  of  the  glass.  This  is  necessary  as  a  substratum  for 
the  collodion  to  be  afterward  flowed  over  it.  This  is  done 
immediately  after  rinsing  from  the  pure  water  last  used  in 
washing.  The  proportions  of  albumen  to  water  are  very  vary¬ 
ing  among  operators  in  practice,  some  using  the  white  of  one 
egg  to  twenty-five  ounces  of  water,  while  others  give  to  the 
same  quantity  of  albumen  eighty  ounces  of  water.  Any  pro¬ 
portions  between  these  will  work,  the  main  idea  governing 
being  the  injury  to  the  silver  bath,  which  may  result  by  the 
gradual  communication  to  it  of  organic  matter  from  this  source. 
It  will  readily  be  understood,  however,  that  a  very  thin  or 
delicate  solution  is  all  that  is  necessary,  and  the  white  of  one 
egg  to  forty-eight  ounces  of  water  will  be  a  desirable  medium 
to  adopt. 


12 


PHOTOENGRAVING  BY  THE 


Albumen  Solution. — To  prepare  the  albumen  solution,  take 
the  white  of  a  fresh  egg,  careful  that  none  of  the  yolk  or  the 
germ  is  accidentally  admitted.  Break  this  into  a  froth  with  an 
ordinary  egg-beater,  and  mix  with  forty-eight  ounces  of  water. 
This  should  be  the  purest  procurable,  distilled,  or  from  melted 
transparent  ice,  and  filtered  before  use.  Thoroughly  mix  by 
beating  again  with  the  egg-beater;  neutralize  by  adding  five 
or  six  drops  of  acetic  acid,  and  let  stand  over  night.  Before 
using,  it  must  be  frequently  filtered  through  absorbent  cotton 
until  it  is  seen  to  be  thoroughly  clear  and  limpid,  and  with  no 
shreds  of  al  bumen  visible.  T o  get  it  to  this  condition  will  neces¬ 
sitate  filtering  three  or  four  times,  and  it  will  be  found  most  con¬ 
venient  to  take  several  graduates  of  varying  Sizes  with  a  fun¬ 
nel  containing  the  cotton  in  each,  and  pass  from  one  to  another, 
till  the  last  be  found  in  condition  of  sufficient  purity  to  be 
flowed  over  the  plate. 

Flowing  the  Plate. — With  the  glass  perfectly  clean,  imme¬ 
diately  after  rinsing  in  pure  w^ater,  as  above  recommended, 
take  the  graduate  containing  the  last  filtered  albumen  solution 
in  the  right  hand,  while  the  glass  is  held  in  the  left  by  the 
lower  left-hand  corner;  pour  the  solution  copiously  on  the 
plate  at  the  upper  right-hand  corner,  and  allow  to  flow  gradu- 
alty  over  it,  and  run  off  at  bottom.  Flow  at  least  twice,  as 
much  as  possible  preventing  any  from  reaching  the  back, 
because  of  its  not  being  necessary  there,  and  of  the  injury  it 
may  afterward  inflict  on  the  silver  sensitizing  bath.  After 
flowing  twice,  set  up  the  plates  on  a  rack  to  dry  spontaneously, 
being  careful  to  arrange  them  with  the  albumen  side  turned 
one  way,  as  it  is  hardly  possible  to  discern  after  drying  which 
side  has  been  albumenized.  After  drying,  they  may  be  stored 
in  some  convenient  cupboard  or  shelf,  and  protected  from  dust 
by  a  cover  being  kept  over  them.  Any  number  may  be  thus 
prepared  at  once,  as  they  will  keep  for  any  length  of  time. 

The  Collodion. — The  next  further  stage  in  the  process  is 
the  preparation  of  the  collodion.  This  may  be  purchased 
ready  prepared,  but  no  work  on  the  subject  would  be  complete 
without  the  formula  for  making,  and  its  preparation  presents 
no  great  difficulty.  There  are  many  recipes,  varying  some- 


HALF-TONE  ENAMEL  PROCESS. 


13 


what  with  the  fancy  which  some  operators  think  they  have 
discovered  in  a  few  grains  less  or  more  of  some  one  or  other 
bromide  or  iodide  salt,  but  all  practically  bringing  out  the 
same  result ;  the  supposed  excellence  of  one  more  than  another 
probably  resulting  £rom  the  methods  of  handling  the  after 
operations.  The  following  will  be  found  to  be  one  of  the  best : 


Alcohol,  95  per  cent .  8  ounces 

Iodide  of  ammonium .  48  grains 

•  Iodide  of  cadmium .  24  grains 

Bromide  of  cadmium .  16  grains 

Pyroxyline .  120  grains 

Sulphuric  ether .  8  ounces 


Dissolve  the  salts  by  grinding  each  separately  in  a  mortar 
with  a  portion  of  the  alcohol  in  the  above'  order ;  add  the 
pyroxyline  and  shake  well;  last,  add  the  ether,  and,  after 
shaking,  the  whole  will  be  seen  to  dissolve 
into  a  clear  liquid  of  amber  color.  It  will 
be  sufficiently  ripened  to  work  in  a  few 
hours,  but  will  improve  as  it  gets  older. 
The  ether  being  very  volatile,  it  should  be 
kept  in  glass-stoppered  bottles.  There  are 
bottles  manufactured  for  the  purpose — 
“  collodion  pourers” — but  in  the  absence 
of  these  an  ordinary  wide-mouthed  bottle 
with  glass  stopper  is  an  excellent  substitute. 
The  most  convenient  shape  is  that  shown 
in  Fig.  2.  It  allows  all  impurities  to  settle 
in  the  bottom,  so  that  the  collodion  may  be 
fig.  2.  poured  out  without  disturbing  them,  and 

collodion  bottle,  the  formation  of  the  bottle  is  also  such  that 
air  bubbles  are  not  formed  when  pouring  out  the  solution. 

Flowing  the  Collodion . — To  so  flow  the  collodion  over  the 
plate  as  to  give  a  uniform  coating  requires  a  little  dexterity  that 
can  only  be  acquired  by  practice.  Take  hold  of  the  glass  by 
the  lower  corner  in  the  left  hand,  stretching  the  forefinger 
along  the  edge  so  as  to  give  support  at  that  point,  while  the 
thumb  and  middle  finger  support  the  bottom  (see  Fig.  3). 
Now,  holding  it  as  level  as  the  eye  can  judge,  pour  a  pool  of 


14 


PHOTO-ENGRAVING  BY  THE 


collodion  about  the  centre,  or  nearer  the  top,  of  the  plate  witli 
a  steady,  even  flow,  and  of  sufficient  quantity  to  cover  it. 
Incline  the  glass  so  as  to  make  the  collodion  flow  first  to  the 
upper  right-hand  corner  (to  No.  1),  then 
over  to  the  left  (to  No.  2),  and  then  do.wn 
to  the  bottom  to  No.  3),  allowing  the  sur¬ 
plus  to  flow  off  at  the  lower  right-hand  cor 
ner  (at  No.  4),  into  a  wide-mouthed  bottle, 
kept  for  the  purpose,  and  fitted  with  a  stop¬ 
per  or  cork.  This  can  be  afterward  utilized 
by  filtering,  and  adding  to  the  stock  bottle. 

The  important  object  is  to  have  a  regu¬ 
lar  coating  all  over  the  plate  ;  and  to  attain 
this  there  must  be  no  hesitation  in  the  pour¬ 
ing  and  flowing  over  the  whole  surface,  and 
then,  by  raising  it  into  a  perpendicular  posi¬ 
tion,  allow  the  surplus  to  drain,  at  the  same  time  giving  it  a 
to  and-fro  motion  sideways,  but  by  no  means  such  as  would 
send  it  back  over  the  plate.  Having  an  eye  to  the  careful 
preservation  of  the  silver  bath,  wdpe  off  all  superfluous  collod¬ 
ion  that  may  have  got  on  the  back  of  the  glass.  It  would  set 
in  a  few  seconds,  indicated  by  its  drying  or  thickening  so  as  to 
take  the  impress  of  the  thumb  at  the  lower  corner  where  last 
poured  off.  Whenever  this  is  noticed  it  is  ready  to  be  lowered 
into  the  sensitizing  bath,  which  should  be  done  without  delay. 

The  Silver  Bath . — It  is  very  important  that  the  silver  bath 
should  be  made  from  the  purest  materials.  The  water  especially 
should  be  carefully  filtered  and  purified.  The  most  efficient 
method  of  accomplishing  this  is  to  take  distilled  water,  or 
transparent  ice  melted ;  add  to  it  a  few  crystals  of  nitrate  of 
silver,  put  into  a  bottle  of  white  glass  and  set  in  the  sun.  In 
a  few  days  it  will  darken  corresponding  to  the  amount  of 
organic  matter  contained  in  it,  which  will  be  precipitated  and 
can  be  filtered  out.  Make  up  a  sufficient  quantity  to  fill  the 
bath  holder  of  the  size  determined  upon.  This  may  be  a  flat 
dish — which  will  call  for  a  less  quantity  of  silver,  but  not  on 
that  account  more  economical — or  a  regular  glass  holder  with 
box  and  cover,  which  is  greatly  to  be  preferred,  being  much 


HALF-TONE  ENAMEL  PROCESS. 


15 


more  easily  managed  in  respect  of  tlie  plate,  but  also  for 
keeping  the  bath  in  better  condition  (see  Fig.  4).  A  size 
11  x  13  will  be  found  a  serviceable  and  convenient  size  to  work 
with.  This  will  require  100  ounces,  which  should  be  of  the 
-strength  of  forty  grains  to  the  ounce,  tested  by  an  argento- 


FIG.  4.  SILVER  BATH. 

meter  (Fig.  5).  Put  this  quantity  into  a  large  bottle  of  white 
glass,  add  to  it  a  few  drops  of  concentrated  ammonia,  to 
neutralize,  until  it  just  turns  red  litmus  paper  blue,  and  set  in 
the  sun  for  several  days  to  clear.  Any  organic  matter  con¬ 
tained  in  it  will  be  precipitated,  or  adhere  to 
the  sides  of  the  bottle,  which  must  be  thor. 
oughly  filtered  and  cleaned  out.  Filter  again 
and  again  until  assured  of  being  thoroughly 
pure,  by  its  remaining  clear.  When  ready  for 
use  put  into  the  bath  holder,  add  a  few  grains 
of  iodide  of  potassium — 5  grains  will  be 
sufficient — and  of  nitric  acid,  C.  P.,  a  few 
drops  at  a  time,  until  it  turns  blue  litmus 
paper  a  decided  red,  when  it  will  be  ready 
for  use.  In  place  of  adding  5  grains  of  iodide 
fig.  5.  of  potassium,  a  collodionized  plate  may  be 
argentometer.  p]aceci  in  the  bath  and  allowed  to  remain  over 
night,  when  sufficient  of  the  iodide  will  have  been  communi¬ 
cated  to  it  from  the  collodion. 

The  Care  of  the  Bath . — The  care  of  the  bath  is  a  matter 


16 


PHOTO-ENGRAVING  BY  THE 


of  much  importance,  as  it  is  liable  at  times  to  go  out  of  order 
for  causes  not  easily  discoverable,  there  being  many  that  affect 
it,  which  may  set  their  evil  influences  into  operation  suddenly ; 
but  the  chief  source  is  from  organic  matter  introduced  through 
the  medium  of  the  collodion  and  the  glass  plate,  and  should  be 
carefully  guarded  against.  In  time  it  will  have  become  so  sur¬ 
charged  with  alcohol  and  iodine  from  this  source  as  to  require 
doctoring,  which  condition  may  be  known  by  the  developer 
flowing  over  the  plate  as  if  meeting  with  a  greasy  resistance,  and 
later  by  minute  pin-holes  like  star  dust  being  observable  in  the 
negative.  The  first  of  these  may  be  corrected  for  a  time  by  the 
addition  of  a  little  alcohol  to  the  developer;  but  be  assured 
that  the  other  is  not  far  away,  and  then  it  will  be  needful  that 
drastic  measures  must  be  adopted.  To  this  end  take  a  quantity 
of  pure  distilled  water,  or  melted  ice  purified,  equal  to  the 
bulk  of  the  bath;  pour  the  bath  into  it,  filter  out  the  iodides 
and  simmer  down  by  gently  boiling  in  a  granite  or  porcelain 
dish  (Fig.  6)  until  it  is  reduced  to  considerably  less  than  the 
original  bulk.  This  operation  will  have  evaporated  out  the 
alcohol.  Let  it  now  be  brought  to  the  strength  of  40  grains  to 
the  ounce,  by  the  addition  of  pure  water,  neutralized  by  the 
addition  of  a  few  drops  of  concentrated  ammonia,  and  set  in 
the  sun,  where  the  organic  matter  will  be  precipitated,  and 
may  be  filtered  out.  A  longer  sunning  and  filtering  will 
further  improve  it,  and  after  assurance  by  its  remaining  clear, 
it  may  be  acidified  as  at  first  and  again  put  to  work.  Because 
of  the  liability  of  the  bath  to  go  out  of  order,  it  is  well  to  have 
one  or  two  distinct  baths  under  process  of  sunning  and  purify¬ 
ing,  besides  the  one  in  use,  and  so  save  disappointment  at 
inopportune  times.  Before  beginning  the  work  of  the  day  the 
bath  should  be  skimmed  over  with  a  piece  of  clean  blotting 
paper. 

The  Dark-Room. — The  dark-room  should  be  arranged  with 
everything  so  conveniently  placed  as  to  be  readily  found  in  the 
dim  light  necessary.  This  need  not  be  so  very  dim,  however, 
as  to  become  a  source  of  confusion,  the  wet-plate  not  being 
nearly  so  sensitive  as  the  gelatine  dry-plate  of  the  photog¬ 
rapher  ;  but  the  light  must  be  made  non-actinic  in  character, 


HALF-TONE  ENAMEL  PROCESS. 


17 


by  being  strained  through  a  colored  medium,  either  of  glass, 
cloth  or  paper,  that  it  may  not  affect  the  sensitized  plate  while 
it  is  being  taken  out  of  the  bath  and  placed  in  the  camera - 
holder.  If  the  light  is  taken  from  an  outside  window,  it  may 
be  partly  blocked  out,  while  a  portion  may  be  covered  with 
orange- colored  cloth  or  paper.  A  clearer  light  will  be  obtained 
in  which  to  observe  the  action  of  the  developer,  by  placing  a 
pane  of  ruby  colored  glass 
into  a  section  of  the  sash. 

If  dependent  on  gas  or  arti¬ 
ficial  light  it  should  be  en¬ 
closed  in  a  lantern  or  other 
enclosure,  and  protected  by 
ruby  or  orange-colored  glass. 

The  incandescent  electric 
light  is  very  convenient  when  it  can  be  readily  obtained.  The 
sink  and  water-tap  should  be  so  placed  with  relation  to  the 
light  as  to  be  readily  accessible  at  the  moment  development 
is  seen  to  have  reached  the  desired  amount  of  detail. 

Sensitizing  the  Plate. — The  bath  having  been  prepared 
and  in  working  order,  the  next  operation  is  to  make  sensitive 
to  light  the  glass  plate.  This  having  been  flowed  with  the 
collodion  as  described  is  laid  on  the  dipper,  and,  with  a  steady, 
unhesitating  motion,  lowered  into  the  bath,  stirring  it  a  few 
times,  but  not  raising  it  so  high  as  that  any  part  of  it  will  be 
out  of  the  solution.  This  may  be  done  with  the  full  light  up 
in  the  dark-room ;  but  in  placing  the  plate  into  the  bath  let  it 
be  shaded  by  the  person  or  otherwise,  until  the  cover  is  placed 
over  it,  otherwise  “fog”  may  be  the  result.  It  should  be 
allowed  to  remain  in  the  bath  until  sufficiently  sensitized,  for 
which  five  minutes  is  about  right,  though  with  a  bath  that  has 
been  some  time  in  use  a  few  minutes  more  will  do  no  harm. 

In  taking  the  plate  from  the  bath,  raise  the  dipper  with 
tne  same  steady  motion  as  in  inserting,  as  any  stoppage  will 
surely  leave  a  mark  across  the  plate.  Allow  to  drain  for  a  few 
seconds,  and  then  set  against  the  wall  or  other  support,  and 
wipe  the  back  with  blotting  paper,  and  place  in  the  camera 
plate-holder,  which  has  been  previously  set  to  fit  the  plate  and 


FIG.  6.  EVAPORATING  DISH. 


18 


PHOTO-ENGRAVING  BY  THE 


screen.  As  heretofore  arranged  the  screen  and  its  frame  or 
holder  is  of  size  to  fit  the  size  of  plate  used ;  but  recently  a 
plate-holder  has  been  invented  accommodating  any  size  of 
screen  or  plate,  and  with  a  device  by  which  the  separation  of 


FIG.  7.  SCOVILL  SCREEN  PLATE  HOLDER. 

the  screen  and  plate  may  be  regulated  to  a  nicety,  which  must 
prove  a  valuable  adjunct  to  the  working  plant  of  the  process 
worker  (Fig.  7). 

The  Screen. — At  this  point  it  may  be  well  to  consider  the 
screen  and  its  use.  It  is  an  indispensable  accessory  to  half¬ 
tone  work,  for  without  its  assistance  it  would  be  impossible  to 
etch  plates  from  photographs  or  wash  drawings  capable  of 
being  printed  by  the  typographic  process.  By  its  influence 
the  picture  is  broken  up  into  minute  points,  which  present  a 
surface  to  the  inking  rollers  of  the  press,  without  filling  up 
the  interstices  between,  and  so  preserving  the  picture.  Accord¬ 
ing  to  the  fineness  of  the  ruling  of  the  screen  will  be  the  fine¬ 
ness  of  the  resulting  print,  but,  on  the  other  hand,  it  will  call 
for  superior  paper  being  used  and  greater  dexterity  in  workman- 


HALF-TONE  ENAMEL  PROCESS. 


19 


ship  in  the  printing.  The  fineness  of  the  screen  should  there¬ 
fore  be  commensurate  with  the  ultimate  intention  in  the  use 
of  the  engraved  plate.  If  it  is  to  be  printed  on  a  common 
quality  of  paper,  then  a  screen  of  coarse  ruling — say  of  80 
lines  to  the  inch — should  be  employed,  while  screens  of  from 
132  lines  and  up  to  175  will  necessitate  the  finest  coated  paper 
and  the  most  skillful  presswork.  For  more  ordinary  work 
screens  of  120  to  124  lines  to  the  inch  will  be  found  most 
serviceable,  but  to  get  the  best  results  out  of  these,  a  good 
coated  paper  and  an  experienced  workman  at  press  is  needful. 

Distance  of  Screen  from  Plate. — But  a  matter  of  much 
importance  in  working  with  the  screen  is  the  distance  of  sepa¬ 
ration  between  it  and  the  sensitized  plate.  This  distance  will 
range  from  one-sixteenth  to  one-eighth  of  an  inch,  to  be  regu¬ 
lated  according  as  the  desire  of  the  operator  is  to  get  the  high 
lights  up  without  using  a  larger  stop,  or  giving  longer  time  of 
exposure.  The  use  of  the  screen  in  this  respect  will  be  under¬ 
stood  when  it  is  pointed  out  that  the  influence  of  the  wider 
separation  is  to  allow  the  light  so  much  more  space  in  which 
to  spread,  and  thus  fill  up  the  high  lights.  Willi  this  fact 
kept  in  mind  a  wide  field  is  open  for  experiment,  and  the 
acquisition  of  practical  knowledge,  which  can  only  be  thus 
attained. 

Cleaning  the  Screen. — It  is  of  the  utmost  importance  that 
the  screen  be  absolutely  clean,  and  to  get  it  so  is  more  difficult 
than  might  be  expected,  the  smallest  stain  from  the  fingers  or 


FIG.  8.  PLATE  VISE  FOR  HOLDING  GLASS  WHEN  BEING  POLISHED. 

other  source  being  observable  on  the  negative.  Perhaps  the 
simplest  way  to  clean  is  to  fix  in  a  screw  vice,  which  is  made 
for  the  purpose,  and  not  costly  (see  Fig  8).  Keep  a  little 
of  the  finest  French  chalk  mixed  with  alcohol  at  hand,  and 
apply  a  few  drops,  rubbing  over  the  surface,  afterward  polish¬ 
ing  with  a  little  pure  alcohol  or  distilled  water,  applied  with 


20 


PHOTOENGRAVING  BY  THE 


some  absorbent  cotton,  and  lastly  rubbing  up  with  a  clean  bit 
of  soft,  old  silk.  It  takes  a  close  scrutiny  to  discover  streaks, 
and  a  careful  examination  in  all  lights  is  necessary. 

The  Camera. — Having  inserted  the  sensitized  plate  and 
closed  the  holder,  the  next  operation  will  be  with  the  camera. 


FIG.  9.  COPYING  CAMERA. 


This  should  be  of  size  to  accommodate  the  screen  and  plate 
chosen,  and  be  erected  on  a  platform  on  which  it  can  be  made 


FIG.  IO.  CAMERA  STAND. 


to  slide  far  enough  for  considerable  reduction  being  made. 
There  must  be  perfect  vertical  alignment  between  the  camera 


HALF-TONE  ENAMEL  PROCESS. 


21 


and  the  picture  to  be  copied,  and  this  is  best  attained  by  the 
copy-holder  being  placed  on  the  same  platform,  and  also  made 
to  slide  on  it  (rig.  10).  A  platform  about  10  feet  long  will 
be  found  a  useful  length  for  ordinary  work.  It  may  be  con¬ 
veniently  erected  on  a  table  with  castors  that  it  may  be  readily 
moved  about,  and  springs  that  may  counteract  any  vibration 
that  may  occur  during  exposure.  The  camera  and  copy-holder 
being  placed  on  the  same  platform,  any  vibration  occurring 
will  be  imparted  to  both  plate  and  copy  alike.  Another 


FIG.  II.  ENLARGING  AND  REDUCING  CAMERA. 


method  of  counteracting  any  vibration  is  to  suspend  the  plat¬ 
form  with  camera  and  copy-holder  from  the  roof ;  but  unless 
the  operator’s  light  is  from  a  steady  source  the  former  plan  will 
be  found  most  convenient,  as  it  can  be  shifted  about  so  as  to 
suit  the  direction  of  light  at  any  time  of  day.  Fig.  12  wiil 
explain  what  is  meant. 

The  Lens. — The  lens  is  perhaps  the  most  important  item 
of  the  process  worker’s  outfit.  There  are  many  good  lenses 
on  the  market,  and  those  of  any  of  the  reputable  makers  will 
afford  a  guarantee  of  suitability.  It  will  therefore  be  the 
truest  economy  to  procure  the  best  the  intending  operator  can 
alford  to  purchase,  and  he  has  a  wide  choice.  It  should,  how¬ 
ever,  be  of  the  rectilinear  class. 

A  lens  that  has  met  with  considerable  favor  with  half-tone 
engravers  is  the  Steinheil  Wide-Angle  Aplanat,  Series  VI. 


22 


PHOTO-ENGRAVING  BY  THE 


(See  Fig.  13.)  It  gives  perfect  flatness  of  picture  and  sharp¬ 
ness  of  image,  together  with  considerable  field. 

The  Diaphragms. — The  diaphragms  or  stops,  as  more 
familiarly  spoken  of,  are  an  important  adjunct  of  the  lens,  and 
considerable  judgment  is  necessary  in  the  use  of  the  several 
sizes,  which  can  only  be  acquired  by  experience.  It  should 
be  kept  in  mind  that  they  are  related  to  each  other  by  regu¬ 
lar  gradation,  and  that  the  diameter  of  each  is  a  proportion  of  the 


length  of  focus  of  the  lens.  The  gradation  followed  as  a  rule 
gives  a  value  double — i.e.9  admitting  double  the  amount  of 
light — that  of  the  smaller  one  immediately  preceding.  One 
or  two  general  rules  regulating  their  use  may  be  laid  down 
for  easy  remembrance :  1st.  In  copying  a  picture  and  mak¬ 
ing  a  considerable  reduction,  use  a  small  stop,  commensurate 
with  the  amount  of  reduction.  2d.  A  small  stop  gives  greater 
detail  in  the  shadows,  sending  the  light  rays  more  directly,  or 
in  straighter  line,  through  the  screen.  3d.  The  larger  stops 
allow  the  light  to  spread,  and  so  have  relatively  a  greater 
influence  in  filling  up  the  high  lights.  Keeping  these  rules  in 
view,  it  will  be  readily  comprehended  that  the  use  of  too 
large  a  stop  will  fill  up  the  high  lights  of  the  picture  before 
sufficient  detail  could  be  got  in  the  shadows,  and  the  inference 
naturally  follows  that  when  a  lack  of  detail  is  observed  a 
smaller  stop  should  be  used.  The  character  of  the  picture  to 
be  copied  has  also  to  be  judged,  and  as  a  rule,  should  it  con¬ 
tain  much  of  dark  shadow,  a  small  stop  and  longer  time  of 


HALF-TONE  ENAMEL  PROCESS. 


23 


exposure  is  indicated,  so  as  to  get  enough  of  detail.  It  is  a 
good  method  and  will  bring  out  the  best  results  to  use  several 
stops — say,  two  or  three — and  proportion  the  time  with  each 
as  to  give  detail  in  the  shadows  by  so  much  given  with  the 
small  stop,  so  much  more  given  with  the  next  larger,  and 
possibly  a  shorter  exposure  with  a  still  larger  for  the  high 
lights.  It  is  well  to  aim  for  getting  the  high  lights  right,  the 


detail  in  the  shadows  being  more  easily  got  by  giving  more 
exposure  with  the  small  stop. 

Diaphragm  Apertures. — The  stops  or  diaphragms  sent 
with  lenses  as  purchased  usually  have  their  apertures  round  in 
form ;  but  recent  investigation  has  shown  that  other  forms 
may  be  used  with  advantage.  Square  apertures,  or  square 
with  the  corners  cut  out,  also  diagonal,  as  follows,  are  each 
seen  to  have  a  varying  influence  on  the  shape  of  the  dot,  and 
through  it  on  the  picture  resulting,  Every  square  in  the 


24 


PHOTOENGRAVING-  BY  THE 


screen  acting  as  a  separate  lens  causes  tlie  dots  to  partake  of 
the  shape  of  the  apertures  used.  This  investigation  has  been 
very  fully  made  by  Dr.  J.  M.  Eder,  of  Germany,  and  Mr. 
Levy,  of  Philadelphia.  The  latter  gentleman  gave  the  result 
of  his  investigations  in  a  very  interesting  article  in  the  Paper 
and  Press ,  and  has  invented  a  form  of  diaphragm  in  which 
the  shape  of  the  aperture  may  be  modified  or  changed,  as 
shown  in  Figs.  14-17.  The  elaborate  writing  of  Dr.  Eder 
has  been  translated  and  published  in  the  Process  Photograin , 
of  London,  England,  and  from  it  we  extract  the  following 
paragraph,  as  presenting  the  gist  of  the  whole : 

“  With  square  diagram  apertures  the  preparation  of  half¬ 
tone  negatives  is  rendered  easier  and  more  certain  than  with 
round  ones  ;  the  reason  of  this  lies  in  the  fact  that  the  corners 
of  the  square  negative  dots  in  the  high  lights  beautifully 


coalesce,  by  which  means  the  dot  remains  open,  so  that  the 
square  stops — even  if  their  ratio  aperture  may  not  be  so  great 
as  that  of  the  round  ones — it  is  easier  to  obtain  undulated 
half-tone  negatives.  Square. stops  with  the  corners  cut  out 
act  still  more  favorably  under  some  conditions.  A  square 
stop  with  corners  cut  out  I  especially  recommend  for  half¬ 
tone  work;  the  beginner  should  commence  his  experience 
with  such  a  stop.  The  influence  of  the  diagonal  aperture  is  to 
present  the  dots  in  lines,  and  this  will  be  more  readily  observed 
if  one  half  the  time  allotted  to  this  form  be  given  the  one  way, 
and  the  diaphragm  turned  round  so  as  to  give  it  in  the  other 
direction.  These  special  diaphragms  may  be  made  in  card¬ 
board  and  blackened.” 

The  Copying  Board. — The  copying  board  should  be  so 


HALF-TONE  ENAMEL  PROCESS. 


25 


placed  as  to  be  conveniently  shifted  to  accommodate  any  redac¬ 
tion  or  enlargement  that  may  be  required,  but  at  the  same  time 
retain  its  being  in  position  perfectly  vertical  to  the  camera 
holder.  This  is  secured  by  being  erected  on  the  same  plat¬ 
form  as  the  camera,  and  running  in  the  same  grooves,  as 
explained  in  the  foregoing  diagram.  The  copy  may  be  affixed 
in  any  way  convenient,  only  where  special  means  have  to  be 
adopted  to  keep  it  flat,  perhaps  the  simplest  way  is  to  place  a 
piece  of  plate  glass  over  it,  for  which  it  is  as  well  to  make 
provision,  so  it  may  be  readily  fixed  and  at  the  same  time 


impinge  with  some  pressure  on  the  copy.  With  a  couple  of 
catches  of  thin  brass  at  the  bottom,  to  support  the  weight  of 
the  glass,  into  which  a  wedge  of  folded  paper  may  be  pushed 
to  keep  it  tight,  and  pieces  of  spring  brass  at  sides  and  top, 
secured  with  a  screw  at  end,  so  that  it  may  turn  in  any  direc¬ 
tion  and  hold,  it  will  be  found  all  that  is  needful  (see  Fig.  1 8). 
In  the  use  of  a  plate  glass  cover,  however,  it  should  be  seen 
that  no  reflections  proceed  from  it,  and  if  there  are,  means 
must  be  taken  to  obviate  them.  And  this  leads  us  to  the  next 
important  consideration,  that  of 

Light — If  you  have  access  to  the  skylight  of  a  photogra¬ 
pher’s  gallery,  or  can  erect  such,  you  are  all  right,  and  have 
at  hand  a  most  potent  assistance  in  securing  suitable  negatives 
with  greater  certainty  and  with  less  perplexing  judgment. 
But  you  may  be  .dependent  on  a  side  light  from  a  window, 
with  every  variation  of  cloud  and  sunshine,  rain  or  clear 
weather,  while  volume  and  intensity  will  also  vary  with  the 


26 


PHOTO-ENGRAVING  BY  THE 


season,  and  it  will  call  for  tlie  exercise  of  much  study  and 
waste  from  many  trials  on  plates,  and  patience,  to  secure  the 
exact  conditions  of  a  good  negative.  A  northern  light  will 
give  the  most  steady  and  have  less  variation,  but  more  fre¬ 
quently  one  has  to  make  the  most  of  what  he  can  get,  and 
then  it  lies  for  the  man  of  inventive  parts  to  bring  out  good 
results  from  circumstances  as  he  finds  them.  Direct  sunlight 
may  even  be  used,  and  good  negatives  secured  by  it  with  very 
much  shortened  time  of  exposure. 

Exposure. — The  varying  circumstances  of  light — the  fickle 
clouds  and  the  uncertain  haze,  the  meridian  glare  and  the 
slanting  ray  of  the  morning  and  evening,  as  well  as  the  sum¬ 
mer’s  glow  and  the  winters  mist — render  the  time  of  exposure 
a  matter  of  exceeding  difficulty,  which  experience  only  can 
overcome,  and  enable  one  to  attain  to  the  exercise  of  a  just 
judgment.  It  may  be  mentioned,  however,  that  an  exposure 
through  a  screen  for  a  half-tone  negative  will  take  about  four 
times  that  of  a  negative  intended  for  line  work.  Before 
uncapping  the  lens  examine  the  conditions  of  the  light,  and 
determine  what  stops  you  will  use,  and  mark  down  on  a  slip 
of  paper  the  time  you  intend  to  give  to  each,  then  turn  the 
hands  of  a  striking  clock  to  the  time  allotted  to  the  first  stop, 
and  the  instant  of  its  striking  will  give  a  perfect  warning  that 
time  is  exactly  up,  when  the  lens  may  be  capped  and  the  stop 
changed,  and  the  clock  again  set  to  keep  its  vigils  for  the  full¬ 
ness  of  time. 

Exposure  Example. — As  an  example  of  approximate  timing, 
we  will  suppose  a  picture  to  be  copied,  and  to  be  reduced  to 
about  one-half.  Referring  to  what  has  been  said  regarding 
stop  apertures  on  p.  135,  we  would  use  that  marked  No.  1,  or 
a  round  aperture  of  same  size,  say  ff 75,  and  give  seven  min¬ 
utes;  then  change  to  No.  2,  y/50,  and  give  two  minutes; 
change  again  to  Nos.  3  and  4,  same  size,  and  give  one  minute 
each ;  being  eleven  minutes  in  all,  with  a  fairly  clear  light, 
through  a  screen  of  120  lines  to  the  inch,  and  with  a  rapid 
rectilinear  lens  of  a  reputable  make.  The  light,  or  other 
circumstances,  may  call  for  a  different  exposure,  but  this  is 
given  as  an  example  that  will  be  found  nearly  correct. 


HALF-TONE  ENAMEL  PROCESS. 


27 


The  Developer. — Make  a  saturated  solution  of  the  proto- 
sulpliate  of  iron,  of  which  take  twelve  ounces,  and  add  to  it 
two  ounces  of  acetic  acid  and  twenty-four  ounces  of  water. 
Some,  add  a  little  alcohol,  but  this  is  not  necessary  unless  the 
silver  bath  is  getting  out  of  order  from  use,  or  the  accumula¬ 
tion  of  iodide,  alcohol,  or  organic  matter  in  it,  which  may  be 
known  by  a  difficulty  in  flowing  the  developer  over  the  plate, 
and  may  be  accepted  as  a  warning  to  see  after  a  new  bath,  and 
an  early  rectification  of  the  old. 

The  Fixing  Chemical. — The  agent  used  to  fix  the  picture, 
or  destroy  the  sensitive  character  of  the  plate,  is  the  cyanide 
of  potassium,  made  up  in  solution  in  the  proportion  of  one 
ounce  of  cyanide  to  twelve  ounces  of  water.  It  is  highly 
poisonous  and  should  be  carefully  kept  from  any  scratches  or 
brasures  on  the  hands  and  so  save  any  risk  of  blood  poisoning. 

Development. — The  exposure  made,  retire  with  holder  to 
the  dark-room,  which  we  have  supposed  to  have  been  fitted  up 
with  sink,  water,  and  the  usual  necessary  equipment  of  such 
“  dens.”  The  developer  and  the  fixing  chemical  are  supposed 
to  be  lying  convenient  to  hand.  Take  the  plate  from  the 
holder,  and,  holding  it  by  the  corner  in  the  left  hand,  flow  the 
developer  with  a  steady  and  rather  copious  sweep  over  it,  yet 
permitting  as  little  as  possible,  or  none,  to  overrun.  Flow 
back  and  forth  until  the  appearance  of  the  image,  which,  if 
correctly  timed,  should  be  in  a  few  seconds,  and  watch  for  the 
coming  of  the  details  of  the  picture,  and  on  the  instant  that 
they  are  seen  to  be  sufficiently  full,  stop  further  development 
by  putting  the  plate  under  the  tap,  and  letting  the  water  flow 
freely  over  it.  Guard  against  over-development.  If  allowed 
to  go  too  far,  there  will  be  a  veil  or  fog  over  the  plate,  which 
it  is  difficult  to  get  rid  of,  with  great  risk  of  spoiling  the  nega 
tive  in  the  attempt. 

Trimming  the  Negative. — The  development  having  been 
carried  as  far  as  desired — i.e.,  with  the  detail  fully  out,  but  no 
more — and  washed  with  a  generous  flow  of  water,  it  is  now 
ready  for  being  “  fixed,”  that  is,  the  image  rendered  non-sensi¬ 
tive  to  the  light,  which  is  done  by  flowing  over  the  plate  the 
before-mentioned  solution  of  cyanide  of  potassium,  when  the 


28 


PHOTO-ENGEAVING  BY  THE 


whole  picture  will  be  seen  immediately  to  clear  up.  Before 
doing  so,  however,  it  is  well  to  trim  up  the  negative  by 
scraping  away  with  the  thumb  the  film  from  the  outer  margin 
of  the  picture,  allowing  about  an  inch  or  so  to  remain.  As 
the  film  is  very  rich  in  silver,  a  small  receptacle  should  be 
provided,  easily  found  in  the  dim  light  of  the  dark-room, 
where  that  portion  scraped  off  may  be  put  and  preserved. 

Examination  of  the  Negative. — The  plate  may  now  be 
taken  into  the  light  and  examined  through  a  microscopic 
focusing  glass,  and  the  attention  first  directed  to  the  condition 
of  the  dots  seen  in  the  high  lights,  i.e.,  the  dark  portions  in 
the  negative.  These  will  have  come  right,  if  they  almost,  but 
not  quite,  touch  each  other,  while  the  dots  in  the  half-tones 
will  be  of  size  varying  as  they  tend  to  light  or  shade,  and 
the  deeper  shadows  will  have  smaller  dots,  but  sufficiently 
pronounced  to  permit  a  little  diminution  in  the  after  process 
of  clearing.  Should  the  high  lights  not  be  closed  enough,  and 
instead  show  considerably  wide  cross  lines,  then  a  longer 
exposure  with  the  larger  stop,  or  possibly  increasing  the  dis¬ 
tance  a  trifle  between  the  screen  and  plate  is  indicated.  If  the 
dots  in  the  shadows  are  not  sufficiently  strong,  then  a  smaller 
stop,  or  a  longer  exposure  with  the  smallest  stop  used,  is  the 
remedy.  Keeping  these  rules  in  mind,  with  a  little  practice, 
the  operator  will  soon  master  the  principles  and  attain  famil¬ 
iarity  in  working. 

Intensification. — However  well  defined  the  image  may 
appear  on  the  plate  at  this  stage,  it  is  never  so  clear  as  that  a 
satisfactory  plate  could  be  engraved  from  it.  It  requires  to  be 
“intensified.’’  To  do  so  there  are  two  methods  that  may  be 
adopted,  both  of  which  have  their  advocates.  One  of  these 
uses  the  bichloride  of  mercury  as  the  agent,  the  other  employs 
a  solution  of  the  sulphate  of  copper  and  bromide  of  potassium 
with  nitrate  of  silver.  The  formula  and  operation  with  the 


first  are  as  follows  : 

Bichloride  of  mercury .  2  ounces 

Muriatic  acid .  jounce 

W  ater . 25  ounces 


Allow  the  plate  to  remain  in  this  solution  till  it  is  bleached 


HALF-TONE  ENAMEL  PROCESS. 


29 


white,  when  it  should  be  well  washed  in  running  water,  and 
then  flowed  over  with  the  following : 


Hydrosulphuret  of  ammonia . i  part 

Water . 4  parts 


This  will  make  the  plate  an  intense  black.  After  being 
well  washed  it  should  be  flowed  over  with  a  weak  solution  of 
nitric  acid,  in  the  proportion  of  1  drachm  to  4  ounces  of  water, 
well  rinsed  under  the  tap  and  set  aside  to  dry.  It  should  be 
mentioned  that  the  bichloride  of  mercury  is  the  well-known 
corrosive  sublimate,  a  deadly  irritant  poison,  and  should  be 
used  with  extreme  caution. 

The  formula  and  operation  writh  the  other  method  are  as 
follows  : 


Sulphate  of  copper . 25  grains 

Bromide  of  potassium . 15  grains 

Water . 1  ounce 


Flow  this  solution  while  the  plate  is  held  in  the  hand.  It 
will  at  first  discolor  or  darken  the  film,  but  in  a  few  seconds 
will  bleach  to  white.  After  it  has  whitened  through,  let  the 
tap  flow  over  it  till  thoroughly  washed,  which  will  take  about 
five  minutes.  The  washing  should  be  uniform  all  over,  and  if 
allowed  to  lie  under  tjie  tap  the  water  should  be  directed  in  an 
equal  stream  over  all  parts.  It  should  then  be  flowed  over 
with  the  following  solution  : 


Nitrate  of  silver . 40  grains 

Citric  acid .  8  grains 

Ice  or  distilled  water . 1  ounce 


Under  this  application  the  plate  will  blacken  over,  when  it 
should  be  again  thoroughly  washed. 

Clearing  the  Negative. — It  is  more  than  probable  that  it 
will  not  yet  have  been  sufficiently  cleared  to  print,  in  which 
case  it  should  be  flowed  with  the  following  solution  of  iodine : 

Iodine . 40  grains 

Water .  4  ounces 

with  iodide  of  potassium  added  in  small  quantities  at  a  time 
and  shaken  until  all  the  iodine  scales  are  dissolved.  This  will 


30 


PHOTO-ENGRAVING  BY  THE 


be  of  a  deep  brandy  color.  After  allowing  this  solution  to  act 
upon  the  film  a  few  seconds,  it  should  be  well  rinsed  in  water 
under  the  tap,  and  flowed  with  a  very  weak  solution  of  cyanide 
of  potassium,  which  will  instantaneously  whiten  over  the  film, 
and  the  image  will  be  seen  gradually  to  clear  up.  Great  caution, 
however,  is  needful  in  this  operation.  Should  the  cyanide  be 
too  strong,  or  allowed  to  act  too  long  upon  the  film,  it  will  sweep 
away  the  dots  in  the  shadows,  or  cut  away  so  much  as  to  render 
the  negative  valueless.  The  tap  should  be  kept  running  while 
operating  with  the  cyanide  solution,  ready  to  stop  its  action  the 
instant  it  is  seen  to  clear  up.  If  an  examination  reveals  that 
it  is  not  yet  sufficiently  clear,  the  operation  may  be  repeated. 
Should  any  part  be  seen  to  require  clearing  more  than  another, 
a  small  stream  of  the  cyanide  solution  may  be  so  poured  from 
the  graduate  as  to  be  directed  on  the  clouded  part  without 
reaching  the  rest,  though  to  do  so  will  require  delicate 
handling  and  much  caution,  as,  a  little  overdone  at  this  point, 
the  whole  negative  may  be  spoiled.  When  seen  by  examina¬ 
tion  with  the  focusing  glass  to  be  sufficiently  cleared  with  the 
cyanide,  it  should  be  again  well  washed,  flowed  with  the  fore¬ 
going  weak  solution  of  nitric  acid,  and  afterward  blackened 
with  the  solution  of  sulphuret  of  ammonia  mentioned  above, 
flowed  again  with  the  nitric  acid,  washed  and  set  aside  to  dry. 
Wash  well  after  flowing  with  all  the  solutions. 

Features  of  a  Good  Negative. — It  is  to  be  hoped  that  the 
result  of  so  much  labor,  necessitating  so  much  careful 
handling,  and  the  exercise  of  so  much  judgment,  will 
be  a  good  negative.  If  it  is  not  satisfactory  it  will  be 
but  labor  lost  to  proceed  further,  and  it  will  be  well  at 
this  point  to  describe  what  constitutes  a  good  negative. 
Give  it  a  minute  examination  under  the  glass.  The  darkest 
portions  of  the  negative,  which  will  be  the  high  lights  in  the 
finished  picture,  should  present  a  small,  clear,  transparent  dot. 
The  effect  of  the  intensification  should  have  been  to  close  up 
the  black  dots  which,  after  development,  almost  touched.  If 
there  are  cross  lines  of  white  instead  of  the  small  dot,  the  high 
lights  in  the  finished  picture  will  be  correspondingly  dark,  and 
the  whole  effect  will  lack  contrast  and  pluck.  The  black  dots 


HALF-TONE  ENAMEL  PROCESS. 


31 


in  tlie  half-tones  should  vary  in  size  down  to  the  very  small  in 
the  deeper  shadows,  and  where  strong  contrast  is  wanted  they 
may  in  some  portions  be  down  to  nothing.  Should  the 
finished  negative  not  present  these  features,  it  were  better,  in 
the  spirit  of  nil  desperandum ,  to  throw  it  aside,  and  begin 
again  at  the  beginning,  hoping  for  u  better  luck  next  time.” 

The  Marginal  Line . — The  resulting  negative  proving 
satisfactory,  the  further  operations  may  be  proceeded  with, 
and  the  next,  unless  a  vignetted  effect  is  wanted,  a  marginal 
line  should  be  ran  around  the  picture,  giving  it  a  finished 
appearance,  and  affording  a  guide  for  the  router  in  mounting. 
With  a  square  or  straight  edge  laid  along  the  margin  of  the 
picture,  run  the  point  of  a  graver  along ;  this  will  make  a  clean 
cut  through  the  film,  which  will  print  black  in  the  finished 
picture . 

Turning  the  Film. — The  film  has  now  to  be  prepared  for 
turning,  otherwise  the  picture  would  appear  reversed  in  the 
after  printing.  Though  to  turn  it  is  by  no  means  a  difficult 
operation,  it  requires  delicate  handling,  and  is  most  interesting. 
To  enable  its  being  so  turned  it  is  first  given  a  coating  of 
india-rubber  dissolved  in  benzole,  made  as  follows  :  Cut  half 
an  ounce  of  pure  virgin  rubber  into  small  pieces,  and  place  in 
a  bottle  with  about  8  ounces  of  benzole,  giving  it  a  good  shake 
occasionally.  In  a  few  days  it  will  dissolve.  It  should  be 
about  the  same  consistency  as  good  collodion,  and  if  found  too 
thick  it  may  be  thinned  by  the  addition  of  more  benzole.  It 
must  not  be  too  thin,  however,  otherwise  it  will  not  be  sufficient 
to  resist  the  action  of  the  collodion  which  is  to  be  afterward 
applied  and  which  would  eat  away  and  destroy  the  film. 
After  the  benzole  has  evaporated  and  left  the  rubber  in  a  thin 
layer  dry  over  the  film,  it  must  be  flowed  over  in  the  same 
manner  with  “stripping”  collodion,  made  after  the  following 
recipe : 


Alcohol .  4  ounces 

Pyroxyline . 6o  grains 

Sulphuric  ether .  4  ounces 

Castor  oil . 30  drops 


The  castor  oil  is  added  to  make  the  film  adhere  to  the 


32 


PHOTO-ENGEAVING  BY  THE 


glass  after  being  turned.  It  is  ready  for  turning  any  time 
after  tbe  collodion  has  set  and  dried. 

At  this  stage  the  film  should  be  cut  through  with  a  sharp 
knife  about  a  quarter  of  an  inch  from  the  line  marking  the 
margin  of  the  picture.  It  is  now  to  be  placed  in  a  solution  of 
acetic  acid,  of  quantity  sufficient  to  cover  well,  and  propor¬ 
tioned  as  follows : 

Acetic  acid . i  ounce 

Water . 8  ounces 

In  a  few  minutes  the  film  at  the  outer  edges  will  readily 
be  picked  away  by  raising  it  at  the  corner  with  a  penknife. 
After  stripping  away  the  outer  portion,  and  leaving  only  the 
picture  on  the  glass,  put  under  the  tap  and  wash  well,  but 
carefully,  and  lay  on  a  table,  with  plenty  of  water  upon  it. 
How  take  a  piece  of  stout  common  printing  paper,  somewhat 
larger  than  the  picture  and  within  the  size  of  the  glass  ;  wet  it 
by  drawing  it  through  water,  and  lay  it  over  the  film ;  next 
squeegee  the  water  from  it  till  smooth,  raise  the  corner,  and 
with  the  point  of  a  penknife  pick  up  the  corner  of  the  film, 
just  enough  to  catch  hold  of  it  between  the  finger  and  thumb, 
keeping  the  paper  for  support,  and  gently  pull  both  together 
from  the  glass.  It  will  readily  come  away.  Lay  it  dow'n 
upon  the  glass,  film  up,  and  smooth  out  gently  with  the  squee¬ 
gee,  or  the  point  of  the  fingers,  any  wrinkles  that  may  have 
come  on  it.  If  the  wrinkles  are  numerous,  or  the  film  too 
delicate  to  handle  with  the  squeegee  or  the  fingers,  a  gentle 
flow  of  water  will  expedite  the  operation,  being  cautious,  how¬ 
ever,  not  to  flow  so  sharply  as  to  float  it  off !  How  draw  an¬ 
other  piece  of  paper  through  water,  and  lay  it  over  the  film, 
squeegee  again,  and  lifting  both  papers,  having  the  film  be¬ 
tween  them,  from  the  glass,  turn  right  over,  and  remove  the 
first  piece  of  paper,  which  will  now  be  uppermost.  The  film 
may  now  be  lifted  with  its  paper  support  and  set  aside,  and 
the  glass  thoroughly  cleaned  under  the  tap.  So  cleaned,  lay 
the  glass  on  the  table  with  plenty  of  water,  lay  the  film,  with 
its  paper  support  uppermost,  in  the  centre,  and  squeegee  the 
water  from  it.  The  paper  may  now  be  lifted  and  the  film 
examined  and  smoothed  out  gently  with  the  squeegee,  and  the 


HALF-TONE  ENAMEL  PROCESS. 


33 


paper  replaced  over  it.  W  ith  two  or  three  layers  of  blotting 
paper  over  it.  it  should  be  placed  under  a  board  and  a  weight 
for  about  half  an  hour,  when  it  may  be  taken  out  and  set  aside 
to  dry. 

Preparations  for  Etching . — The  negative  is  now  ready  for 
being  printed  from,  and  the  student’s  attention  will  now  be 
directed  to  the  preparation  of  the  metal  plate  for  etching. 
This  may  be  either  of  zinc  or  copper,  the  choice  being  deter¬ 
mined  by  circumstances,  it  may  be  of  economy  or  otherwise. 
It  has  been  maintained  by  many  excellent  operators,  especially 
in  England,  that  one  metal  is  as  good  as  another,  so  far  as  the 
final  results  are  concerned ;  but  an  examination  of  the  work 
in  America  will  satisfy  an  unprejudiced  scrutiny  that  finer 
effects  have  been  obtained  on  copper.  It  is  possible  that  dif¬ 
ferent  ideas  of  what  constitutes  excellence  in  an  engraving 
may  account  for  the  preference.  It  will  be  noticed  that  the 
American  workman  seeks  after  strong  contrasts  of  light  and 
shade,  and,  not  content  with  that  which  his  negative  can  sup¬ 
ply,  has  recently  resorted  to  putting  the  strong  lights  in  with 
the  graver,  and  by  rubbing  down  the  dots  has  strained  after 
deeper  blacks  in  the  shadows.  Our  cousins  on  the  other  side 
evidently  seek  after  softness  of  general  effect,  and  by  their 
writings  on  the  subject  show  that  they  esteem  this  as  the  acme 
of  attainment.  Whichever  metal  is  chosen,  however,  it  must 
be  perfectly  polished.  It  may  be  purchased  in  several  grades 
of  preparation,  rough,  machine  polished,  or  highly  buffed. 
We  think  it  the  best  economy  to  get  at  least  machine  polished, 
and  we  will  assume  that  it  has  been  so  procured. 

Polishing  the  Metal. — If  the  metal  chosen  be  zinc,  it 
may  be  brought  to  a  good  polish  under  charcoal  and  w^ater, 
but  with  copper  it  is  necessary  to  give  it  a  fine  grain  with 
emery  and  charcoal  and  water,  and  lastly  with  charcoal  and 
water  alone.  In  polishing  on  either  metal,  let  the  rubbing 
be  done  all  one  way,  to  and  fro,  not  in  circles  or  across. 
After  a  partial  polish,  it  is  well  to  put  it  for  a  few  minutes 
into  a  strong  lye,  to  overcome  any  greasiness ;  and  the  hands 
should  be  perfectly  clean,  and  the  fingers  not  allowed  to  touch 
the  polished  surface  of  the  plate  for  the  same  reason. 


34 


PHOTO-ENGRAVING  BY  THE 


The  Enameling  Solution. — The  plate  being  well  polished, 
it  is  now  ready  to  receive  the  enameling  solution.  For  this 
there  are  various  formulae,  each  supposed  to  have  merits  of  its 
own,  and  hedged  around  with  all  the  importance  of  mysterious 
secrecy ;  but  the  basis  of  all  is  a  glue  or  gum,  preferably 
Le  Page’s  fish  glue,  which  is  now  specially  refined  and  clarified 
for  the  purpose,  while  the  sensitizing  element  is  the  bichromate 
of  ammonia.  To  these  most  operators  add  a  proportion  of 
albumen,  and  the  varying  proportions  of  these  ingredients 
constitute  the  virtues  of  the  so-called  secrets.  Some,  however, 
discard  albumen;  and  as  the  presence  of  this  prevents  the 
keeping  quality  of  the  solution,  it  should  only  be  made  up  in 
small  quantities  for  early  use,  or  not  more  than  will  suffice  for 
a  week  or  two’s  work.  That  made  without  albumen  may  be 
made  up  in  larger  quantities,  as  it  will  keep  indefinitely ;  but 
it  necessitates  more  careful  washing  out  after  development, 
the  albumen,  when  used,  washing  out  more  readily.  We  give 
both  formulae,  that  the  operator  may  take  whichever,  after 
practical  experiment,  he  is  most  successful  with. 


Le  Page’s  clarified  fish  glue .  2  ounces 

Bichromate  of  ammonia . 120  grains 

Albumen .  2  ounces 

"Water .  6  ounces 


The  whites  of  four  eggs  of  medium  size  will  yield  the 
above  quantity  of  albumen,  which  take,  carefully  excluding 
the  yolk  and  the  germ,  and  thoroughly  beat  up  and  set  aside 
to  settle.  Grind  the  bichromate  with  the  water,  mix  with  the 
glue  and  add  the  albumen,  and  boat  up  the  whole  again.  A 
common  domestic  egg-beater  is  very  suitable  for  this  purpose. 
Make  the  mixture  up  in  non-actinic  or  feeble  light,  and  set 
aside  for  several  hours,  when  it  should  be  filtered  through  a 
small  piece  of  fine  sponge  in  a  large  funnel,  and  put  into  a 
stock  bottle,  and  again  filtered  in  the  same  manner  before 
using. 

The  formula  without  albumen  is  as  follows  : 


Clarified  fish  glue .  2>  lA  ounces 

Bichromate  of  ammonia . 80  grains 

Water . 10  ounces 


HALF-TONE  ENAMEL  PROCESS. 


35 


The  directions  for  making  given  above  will  app  y  equally 
to  this.  They  should  be  tested  with  litmus  paper,  and  will 
more  than  likely  be  found  acid.  Neutralize  with  a  few  drops 
of  concentrated  ammonia. 

Sensitizing  the  Metal  Plate. — The  plate  having  been 
cleaned  and  polished,  let  water  from  the  tap  freely  flow  over 
it,  and,  slightly  draining  the  surplus,  pour  a  portion  of  the 
solution  on  at  the  upper  right-hand  corner,  when  it  will  sweep 
the  water  from  before  it.  The  solution  will  have  been  filtered 
through  a  sponge  and  convenient  at  hand  in  the  graduate. 
Flow  a  second  and  a  third  time.  Let  the  surplus  at  the  first 
flowing  run  into  the  sink  ;  if  that  of  the  succeeding  flowings 
are  thought  worth  the  saving,  do  not  catch  them  in  the  grad¬ 
uate  from  which  the  solution  was  poured,  but  in  some  other, 
because  so  doing  will  cause  air  bubbles  to  form,  which  will  be 
sure  to  cause  trouble  afterward.  At  the  last  flowing  retain 
enough  to  flow  back  over  the  plate,  and,  keeping  it  in  a  level 
position,  put  it  into  the  “  whirler,”  and  whirl,  at  first  with  a 
slow  motion,  and  gradually  increasing  in  rapidity  for  a  minute 
or  so,  when  it  should  be  examined  for  any  specks  or  air- 
bubbles  that  may  appear  on  the  film.  If  there  are  any  seen 
it  is  a  misfortune ;  should  they  be  air  bubbles,  they  may  be 
pricked  with  a  needle,  and  in  the  after  flowing  they  will  dis¬ 
appear  ;  but  if  they  arise  from  dust  the  easiest  way  is  to 
polish  over  again  and  begin  from  the  bottom.  These  specks 
are  sometimes  unaccountably  troublesome,  and  may  result 
from  acidity  of  the  solution,  so  that  it  is  well  to  prove  it  with 
litmus  that  it  is  in  a  neutral  condition ;  if  from  air-bubbles, 
the  best  preventative  is  to  keep  the  point  of  the  funnel 
through  which  the  solution  is  filtered  resting  on  the  bottom  of 
the  graduate ;  if  they  are  from  dust,  it  is  obvious  that  the 
room  requires  sweeping  out,  or  even  the  floor  mopped  and 
washed  out,  and  to  remember  that  cleanliness  is  an  essential 
to  success.  If  there  are  no  such  manifestations,  flow  again 
with  the  solution,  and  this  time  let  the  whirler  be  so  arranged 
that  a  gentle  heat  may  be  applied,  so  it  may  be  dried  as 
quickly  as  possible.  This  may  be  conveniently  done  by  hold¬ 
ing  the  whirler  over  a  gas  stove,  or  other  cleanly  heat,  and 


36 


PHOTO-ENGRAVING  BY  THE 


whirl  in  the  same  manner  as  before,  which  should  take  about 
three  minutes.  Care  must  be  taken,  however,  not  to  expose 
to  extreme  heat — indeed  the  less  the  better— otherwise  the 
albumen  may  become  coagulated,  in  which  condition  it  would 
not  wash  out  in  development.  The  plate  may  now  be  set 
aside  to  cool,  and  others  coated  and  sensitized,  or  made  ready 
for  printing.  Of  course,  the  coating  of  the  plate,  it  will  be 
understood,  is  to  be  done  in  the  daijt-room,  or  with  subdued 
light,  and  until  time  of  printing  set  in  a  dark  cupboard  or 
other  receptacle. 

The  Whirler. — The  whirler  may  be  of  any  form  that  will 
impart  to  the  plate  a  rapid  circular  motion,  the  idea  being  to 
obtain  by  centrifugal  action  a  perfectly  equal  distribution  of 
the  solution  over  the  plate.  Perhaps  the  simplest  form  of 
whirler  we  have  ever  known  being  used  was  that  of  a  cord 
suspended  over  the  stove,  and  twisted  till  the  strain,  on  being 
relieved,  gave  the  desired  motion,  on  the  principle  of  an 
old  time  cook’s  roasting  jack.  Such  makeshifts,  however, 


FIG.  I9.  FORM  OF  WHIRLER,  NO.  I. 


should  only  be  resorted  to  by  the  genius  who  finds  himself  in 
a  corner,  and,  nothing  daunted,  is  determined  never  to  stick. 
We  give  in  the  following  diagrams  the  forms  of  two  of  the 
most  frequently  used.  The  working  of  the  first  will  be  read¬ 
ily  understood  from  the  drawing ;  that  of  the  other  we  may 
describe  as  being  made  of  hard  wood,  the  long  arms  of  thin 
hickory  about  18x4x \  inch,  around  which  is  placed  a  broad 
rubber  band.  Being  of  such  thin  material  the  arms  will 
spring  out  to  suit  almost  all  size  plates  within  its  capacity. 
The  plate  is  held  within  grooves  at  the  extreme  end,  or,  what 
is  better,  by  small  screws  placed  on  the  outer  edge,  the  heads 


HALF-TONE  ENAMEL  PKOCESS. 


3  r 

of  which,  holding  the  plate  outside,  allows  the  solution  to  flow 
uninterruptedly  away  under  the  motion.  The  diagram  will 
explain  how  the  motion  is  imparted,  and  it  will  also  be  seen 


A 


FIG.  20.  FORM  OF  WHIRLER,  NO.  2. 

The  dotted  line  indicates  the  plate  in  position  at  A  ;  B,  the 
rubber  band. 

that  this  form  of  whirler  is  very  convenient  for  holding  in  the 
hand  over  the  heat,  and  at  the  same  time  whirled  rapidly  by 
the  small  handle  at  the  upper  end. 

Preparations  for  %  Printing. — The  plate  is  now  ready  for 
printing.  To  this  end  let  the  thick  plate  glass  of  the  printing 
frame  be  seen  to  as  being  thoroughly  clean  ;  also  the  negative. 
Frequently  a  moisture  will  collect  on  the  glass  of  the  negative, 
to  obviate  which  let  it  be  held  over  the  gas  stove  for  a  few 
seconds.  As  to  the  printing  frame,  it  is  scarcely  necessary  to 
describe  it  more  than  in  a  general  way,  that  it  is  a  square 
frame  about  four  inches  deep,  in  which  is  placed  a  piece  of 
plate  glass  of  from  three-quarters  to  an  inch  in  thickness,  of 
sufficient  strength  to  withstand  the  pressure  necessary  to  secure 
complete  contact  between  the  negative  and  the  metal  plate. 
This  pressure  is  got  from  screws,  as  will  be  seen  in  Figs.  21 


38 


PHOTOENGRAVING  BY  THE 


and  22.  The  frame  must  be  purchased  anyway,  and  its  con¬ 
struction  and  working  will  be  readily  understood  when  prac¬ 
tically  examined. 

Loading  the  Printing  Frames. — Take  the  sensitized  metal 
plate  and  rest  on  the  points  of  the  fingers  of  the  left  hand,  and 
place  the  negative  over  it  so  as  the  picture  will  fall  exactly  in 
the  centre ;  or  lay  the  negative  in  the  printing  frame,  film  side 
up,  and  lay  the  sensitized  plate  over  it.  Let  this  be  done 
gently  and  without  moving  about,  so  as  to  save  any  risk  of 


FIG.  21.  PRINTING  FRAME,  CLOSED. 


abraiding  the  film  of  the  negative.  Turn  over  and  convey  to 
the  printing  frame ;  place  over  them  one  or  two  pieces  of 
felt ;  put  on  the  cover,  and  proceed  to  screw  down.  This  must 
be  done  very  carefully  so  as  not  to  break  the  negative.  The 
safest  way  is  to  bring  a  gentle  pressure  to  bear  upon  the  centre 
screw,  and  on  the  others  radiating  from  the  centre,  and  lastly 
on  the  corners,  repeating  this  gently,  always  beginning  at  the 
centre  and  going  over  the  others  until  close  contact  between 
the  negative  and  the  plate  is  obtained. 

The  Printing. — The  plate  is  now  ready  for  exposure,  with 
a  view  to  printing ;  and  here  judgment  and  experience,  the 
outcome  of  experiment,  must  be  the  best  guide  of  the  student. 
There  are  two  elements  on  which  he  will  have  to  bring  his 
judgment  to  bear:  first,  the  density  ot  the  negative,  and, 
secondly,  the  intensity  of  the  light.  It  may  take  anywhere 


HALF-TONE  ENAMEL  PROCESS. 


39 


from  one  to  ten  minutes.  If  a  bright  sun  is  out,  and  the 
negative  of  medium  density,  one  minute  may  be  ample,  vary¬ 
ing  with  a  cloudy  sky  or  a  hazy  atmosphere.  A  few  practical 
experiments  and  the  waste  of  a  few  plates  will  afford  better 
lessons  tlian  any  written  words  can  convey,  and  knowledge 
will  come  as  the  reward  of  patient  perseverance. 

Development. — Having  given  what  is  deemed  to  be  a  suffi¬ 
cient  exposure,  remove  the  printing  frame  into  the  dark- room, 


FIG.  22.  PRINTING  FRAME,  OPEN. 


unscrew  and  take  out  the  plate,  and  place  in  a  dish  of  slightly 
warm  water,  and  rock  for  a  few  minutes.  At  this  point  it 
may  be  examined  as  to  whether  a  correct  exposure  has  been 
given.  If  so,  the  enameling  solution  will  be  found  a  little 
tough  when  raised  by  the  finger-nail  at  any  of  the  margins. 
If  the  time  given  has  been  too  short,  it  will  have  washed  away 


40 


PHOTO-ENGRAVING  BY  THE 


under  the  action  of  the  water,  especially  when  placed  under 
the  tap  to  wash  out,  which  should  now  he  done.  If  correctly 
timed  it  will  stand  considerable  washing  without  injury.  The 
effect  will  have  been  to  wash  out  those  parts  of  the  solution 
which  have  been  protected  from  the  light  by  the  denser  por¬ 
tions  of  the  negative,  and  the  half-tones  in  varying  proportions. 

Drying  after  Development. — Having  been  sufficiently 
washed,  the  drying  may  be  accomplished  by  being  set  aside 
and  allowed  to  dry  spontaneously,  or,  as  the  manner  of  some 
is,  to  reach  the  end  more  expeditiously,  the  plate  may  be 
flowed  over  with  alcohol,  and,  held  in  tongs  or  pincers,  a 
flame  set  to  it,  when  it  will  be  dried  at  once  and  be  ready  for 
the  next  operation,  which  is  the  burning  in. 

Burning  In. — This  operation  is  best  performed  over  a 
small  gas-stove,  and  requires  a  pair  of  large  pincers,  about 
twelve  inches  long,  with  broad  point  that  will  hold  a  good 
grip  of  the  plate  by  the  margin  of  the  picture.  It  must  be 
kept  moving  over  the  flame  to  and  fro,  so  as  to  distribute  the 
heat  gradually  and  regularly  over  all  the  plate.  In  a  few 
minutes  it  will  be  seen  to  change  color  and  the  picture  to 
develop  out  more  plainly.  At  this  point  it  is  safer  to  lay 
aside  for  a  few  minutes  to  partially  cool,  as  a  great  heat  too 
quickly  brought  to  bear  upon  the  enamel  may  cause  it  to 
crack ;  meanwhile,  other  plates  may  be  proceeded  with  and 
brought  to  the  same  stage.  The  burning  should  be  continued 
until  it  assumes  a  rich  deep  brown,  when  it  should  be  laid 
aside  to  cool  gradually,  when  it  is  ready  for  the  etching. 

Corrections  on  Film. — Specks  and  other  imperfections 
will  now  probably  make  their  appearance,  which  had  before 
been  unsuspected,  brought  to  light  by  the  burning  in  of  the 
enamel.  The  plate  should,  therefore,  be  examined  under  the 
magnifying  glass  and  these  corrected  with  a  fine  graver. 
They  will  appear  most  injuriously  in  the  high  lights,  and  the 
remedy  is  to  trim  away  the  film  between  and  so  relieve  the 
dots.  This  is  rather  a  delicate  operation  and  takes  careful 
handling. 

The  Etching  Fluid. — The  etching  fluid  for  copper  is  a 
solution  of  perchloride  of  iron.  It  is  advisable  to  use  it  at 


HALF-TONE  ENAMEL  PROCESS. 


41 


full  strength  at  first,  gradually  diluting.  It  is  a  curious  fact 
that  the  strength  of  the  solution  is  to  a  certain  extent 
increased  by  the  addition  of  water.  Make  up  sufficient  to 
cover  the  plate  well  but  not  so  deeply  as  to  prevent  seeing  its 
action  in  etching.  A  serious  objection  to  using  the  fluid  full 
strength  is,  that  it  is  so  opaque  as  to  prevent  the  process  of 
etching  being  observed  and  watched. 

The  Etching. — Pour  the  solution  of  chloride  of  iron  into  a 
shallow  dish  and  insert  the  copper  plate.  The  action  of  the 
iron  will  be  at  once  seen  in  a  change  of  color,  resulting  from 
the  accumulation  of  sediment  from  corrosion.  Brush  this  off 
with  a  soft  camel’s  hair  brush,  and  do  so  with  a  light  circular 
motion  rather  than  broad  sweeps  over  the  plate.  Do  so  every 
half  minute  or  so,  when  it  is  seen  to  accumulate  over  the 
plate.  Occasionally  blow  the  liquid  from  some  part  of  the 
surface  and  keep  a  keen  watch  whether  any  of  the  dots  show 
signs  of  etching  away,  when  it  must  be  at  once  stopped. 
Should  the  enamel  give  way  too  readily  under  the  etching  it 
was  probably  too  acid,  or  the  exposure  under  the  printing 
frame  had  been  too  short,  or  the  burning  in  not  carried  far 
enough.  It  may  etch  deep  enough  in  five  minutes  to  print 
well,  but  it  is  better,  for  giving  greater  ease  in  making  ready 
at  press  and  better  printing  results,  to  give  a  deeper  etch,  and 
if  the  enamel  does  not  show  signs  of  giving  way,  fifteen  min¬ 
utes  may  not  be  too  long  to  give  it.  The  progress  and  depth 
may  be  examined  by  the  finger-nail  upon  the  margin  and 
stopped  when  it  is  judged  far  enough ;  then  taken  out  and 
brushed  well  with  the  camel’s-hair  brush  under  the  tap,  then 
dried  by  gentle  heat  over  the  stove. 

Enameling  the  Zinc. — Should  zinc  be  the  metal  chosen  to 
work  with,  nitric  acid  is  employed  in  etching.  Zinc  plates, 
ready  polished  and  prepared  for  engraving  purposes,  may  be 
obtained,  and  it  is  greatly  preferable  to  so  purchase  them  than 
undertake  the  labor  and  trouble  of  polishing.  It  must,  how¬ 
ever,  get  a  final  polish  with  engravers’  charcoal  before  flowing 
with  the  enamel  solution  ;  and  to  eradicate  any  greasiness  on 
the  surface  it  may  be  placed  for  a  few  minutes  in  the  lye  used 
for  cleaning  the  glass  plates,  and  then  given  the  final  polish. 


42 


PHOTO-ENGRAVING  BY  THE 


The  process  of  flowing  the  plate  with  the  enamel  solution  is 
exactly  similar  to  that  described  above  for  copper;  but  in 
burning  in,  the  zinc,  being  a  much  softer  metal,  will  not  stand 
the  amount  of  heat  that  copper  does,  and  so  the  enamel  can¬ 
not  be  burned  to  so  deep  a  color,  and,  therefore,  greater  cau¬ 
tion  is  required  to  burn  to  a  degree  sufficiently  hard  and  yet 
not  bring  the  zinc  to  the  melting  point. 

Etching  on  Zinc. — A  very  weak  solution  of  nitric  acid  is 
all  that  is  necessary  in  etching  half-tone  work  on  zinc.  A 
solution  of  1  drachm  acid  to  10  ounces  of  water,  which  will 
to  taste  be  about  the  strength  of  vinegar,  will  be  found  right. 
It  is  usual  to  use  a  rocking  tub,  in  which  the  plate  is  placed 
and  the  solution  flowed  over  from  end  to  end,  while  the  oxid¬ 
ized  zinc  is  gently  brushed  away ;  it  may  be  done  quite  as 
well,  however,  in  a  small  porcelain  or  other  flat  dish  as  with 
the  copper  plate,  and  the  same  watchfulness  of  the  film  under 
th)6  action  of  the  acid  must  be  exercised. 

The  Etching  Tub. — The  construction  of  the  rocking  tub 
for  zinc  etching  will  be  readily  understood  by  the  following 
illustration  of  the  latest  and  most  improved  form  ; 


FIG.  23.  ETCHING  TUB. 

Recapitulation. — We  might  here  rest  our  description  of 
the  process;  but  it  will  be  desirable  to  recapitulate  shortly 
the  various  stages  and  restate  the  different  formulae,  so  as  to 
save  reference  to  the  larger  treatise  and  present  the  whole  in 
succinct  form. 

1st.  The  Glass. — To  be  procured  flat,  clear,  and  without 
scratches  or  blows. 

Steep  in  strong  lye  for  several  hours  and  wash  out. 

Steep  in  solution  of  nitric  acid  and  water.  Unless  the 


HALF-TONE  ENAMEL  PROCESS. 


43 


washing  water  is  very  clear,  rinse  in  distilled  or  filtered  ice 
water. 

2d.  Albumenize  the  Glass. 

Formula. 

The  white  of  i  egg  in  48  ounces  distilled  or  ice  water. 

Filter  three  or  four  times  till  perfectly  clear.  Set  on  rack 
to  dry  facing  one  way. 

3d.  Collodionize  the  Glass  Plate. 

Formula  for  Collodion. 


Alcohol,  95  per  cent .  8  ounces 

Iodide  of  ammonia . 48  grains 

Iodide  of  cadmium .  24  grains 

Bromide  of  cadmium .  16  grains 

Pyroxyline . 120  grains 

Sulphuric  ether .  8  ounces 


Dissolve  the  salts  by  trituration  in  a  mortar,  each  sepa¬ 
rately  in  a  portion  of  the  alcohol ;  add  the  pyroxyline  and  let 
soak  a  few  minutes ;  lastly,  add  the  ether,  shake  well,  and  set 
aside  to  ripen  for  about  a  day. 

4th.  Sensitize  the  Plate. 

Formula  for  Silver  Bath. 


Nitrate  of  silver . 40  grains 

Pure  distilled  or  purified  ice  water .  1  ounce 


Of  sufficient  quantity  to  fill  the  holder.  Neutralize  with  con¬ 
centrated  ammonia,  and  stand  in  the  sun  to  purify  ;  then 
filter.  When  thoroughly  clear  put  into  holder,  add  C.  P. 
nitric  acid,  drop  by  drop,  till  the  blue  litmus  paper  is  turned 
to  red.  Iodize  by  allowing  a  collodionized  plate  to  remain  in 
it  over  night,  when  it  will  be  in  working  order. 

Shield  the  bath  from  light  when  inserting  the  plate. 

Five  minutes  in  bath  will  be  enough  to  sensitize  the  plate. 

Take  out,  drain,  and  wipe  back  of  plate  with  blotting 
paper. 

Put  the  plate  into  the  camera-holder,  close,  and  attach  to 
camera. 


44 


PHOTO-ENGRAVING  BY  THE 


5th.  The  Screen  will  have  been  carefully  cleaned  and 
adjusted  in  the  holder. 

To  clean,  use  Paris  white  or  prepared  chalk  in  alcohol, 
afterward  pure  water,  rubbing  dry  with  an  old,  soft  piece  of 
silk. 

6th.  The  Camera. — See  the  camera  correctly  set  to  suit 
the  size  of  picture  to  be  copied,  and  the  focus  perfectly  sharp. 

Determine  what  diaphragms  to  use,  and  the  exposure  with 
each,  beginning  with  the  smallest. 

Draw  the  slide,  uncap  the  lens,  and  set  the  clock  to  strike 
at  the  end  of  time  given  to  first  stop. 

Cap  the  lens  and  change  stops,  giving  time  of  exposure 
with  each. 

Having  given  time  determined  upon  for  exposure,  cap  the 
lens,  close  holder,  and  take  to  dark-room. 


7th.  The  Developer. 

Formula  for  Developer. 

Saturated  solution  of  proto-sulphate  of  iron .  12  ounces 

Acetic  acid .  2  ounces 

Water .  24  ounces 

Or, 

Photo-sulphate  of  iron .  1  ounce 

Water .  16  ounces 

Acetic  acid .  2  ounces 


Dissolve  the  photo-sulphate  of  iron  by  trituration  in  a 
mortar  in  the  water,  add  the  acetic  acid,  and  filter. 

Take  the  plate  from  holder  and  flow  with  above. 

Stop  development  instantly  the  detail  is  seen  to  be  fairly 
out  by  washing  under  the  tap. 

8th.  Fixing  the  Image. 

Formula  for  Fixing  Solution. 


Cyanide  of  potassium .  ...  1  ounce 

Water . .  12  ounces 


Flow  the  plate  with  above,  when  it  will  be  seen  instantly 
to  clear  up. 

Wash  well,  take  into  the  light,  and  examine  under  a  mag¬ 
nifying  glass. 


HALF-TONE  ENAMEL  PROCESS. 


45 


The  dots  in  high  lights  should  almost  touch  ;  those  in 
deepest  shadows  should  show  sufficiently  strong  to  stand 
clearing  down  a  little,  or  any  fuzziness  ronnd  their  edges 
cleared  away. 

9th.  Intensification. 

Formula  for  Copper  Solution. 


Sulphate  of  copper .  25  grains 

Bromide  of  potassium .  15  grains 

Water .  1  ounce 


Flow  with  above  solution  till  bleached  white,  then  wash 
thoroughly. 

Flow  with  solution  of  nitrate  of  silver. 

Formula  for  Silver  Solution. 


Nitrate  of  silver .  40  grains 

Citric  acid .  5  grains 

Water .  1  ounce 


When  seen  to  be  blackened  through,  wash  thoroughly. 

10th.  Clearing. 

Formula  for  Iodide  Solution. 


Iodine .  40  grains 

Water .  4  ounces 

Iodide  of  potassium .  q.  suf. 


Add  the  iodide  of  potassium,  a  small  portion  at  a  time, 
sufficient  to  take  up  or  dissolve  the  iodine. 

Of  this  solution  take  enough  to  make  three  or  four  ounces 
of  water  a  deep  brandy  color;  flow  this  over  the  plate  two 
or  three  times,  then  wash. 

Flow  the  plate  with  a  very  weak  solution  of  cyanide  of 
potassium,  and  wash  well. 


Formula. 

Water .  4  ounces 

Of  cyanide  solution  prepared  for  fixing  negative.  1  drachm 


Examine  with  magnifying  glass  whether  the  dots  in  high 
lights  are  clear  glass,  or  black  dots  in  shadows  have  lost  their 
fuzziness.  If  not,  repeat. 


46 


PHOTO-ENGRAVING  BY  THE 


Watch  carefully  the  action  of  the  cyanide,  that  it  is  not 
allowed  to  go  too  far. 

Flow  with  a  weak  solution  of  nitric  acid. 

Formula. 

Nitric  acid .  i  drachm 

Water .  4  ounces 

Flow  with  solution  of  sulphuret  of  ammonium. 

Formula. 

Hydro-sulphuret  of  ammonium .  4  drachms 

Water . 2  ounces 

Wash  well  and  flow  again  with  the  nitric  acid  solution 
above. 

Set  aside  on  rack  to  dry  spontaneously. 

After  drying,  cut  marginal  line  with  graver. 

11th.  Turning  the  Film. 

Formula  for  Rubber  Solution. 

Virgin  rubber . ounce 

Benzole . . .  8  ounces 

This  solution  should  be  thinned  with  benzole  to  about  the 
consistency  of  good  collodion. 

After  the  rubber  solution  has  dried,  flow  with  turning 
collodion. 

Formula  for  Turning  Collodion. 

Alcohol,  95  per  cent .  4  ounces 

Pyroxyline .  60  grains 

Sulphuric  ether .  4  ounces 

Castor  oil .  30  drops 

After  quite  dry,  cut  the  film  through  with  a  sharp  knife, 
about  a  quarter  of  an  inch  from  the  marginal  line. 

Place  the  plate  in  a  solution  of  acetic  acid  and  let  lie  for 
about  five  minutes. 

Formula. 

Water .  8  ounces 

Acetic  acid .  1  ounce 

Remove  the  film  outside  the  cut  line. 

Wash  the  film  under  the  tap,  gently  but  thoroughly,  and 
lay  on  table  with  plenty  of  water  on  surface. 


HALF-TONE  ENAMEL  PROCESS. 


47 


Wet  a  piece  of  strong  printing  paper  and  lay  on  film 
and  squeegee. 

Pick  up  corner  of  film  with  penknife  and  lift  with  paper 
support,  and  lay  on  glass,  film  up. 

Wet  another  piece  of  paper  and  lay  on  film,  and  squeegee. 

Turn  over,  take  off  first  sheet  of  paper,  and  lay  aside. 

Wash  the  glass  thoroughly  under  the  tap  and  lay  on  paper 
with  plenty  of  water. 

Lay  the  film  on  centre  of  glass  with  paper  support  over  it? 
and  squeegee. 

Remove  paper  and  examine  for  any  wrinkles  ;  smooth  out 
and  replace  paper. 

Place  two  or  three  pieces  of  clean  blotting  paper  over  it? 
and  put  under  a  weight  for  about  half  an  hour,  take  off  the 
paper,  and  set  aside  to  dry. 

12th.  Enameling  the  Metal  Plate. 

Prepare  the  sensitive  solution  for  enameling  the  copper  or 
'zinc  plate. 

Formula  for  Enameling  Solution. 


Le  Page’s  clarified  fish  glue .  2  ounces 

Water .  6  ounces 

Bichromate  of  ammonia . 120  grains 

Albumen .  2  ounces 

Formula  for  Enameling  Solution  without  Albumen. 

Clarified  fish  glue .  3!  ounces 

Bichromate  of  ammonia .  80  grains 

Water .  10  ounces 


Polish  the  copper  plate,  first  with  fine  emery,  and  lastly 
with  charcoal  and  water  alone. 

Zinc  needs  no  emery  in  polishing. 

Flow  with  sensitizing  solution  twice  and  put  in  “  whirler,” 
and  put  in  motion  for  about  a  minute ;  then  flow  again  with 
solution,  and  this  time  hold  over  a  gentle  heat  till  dry,  then 
set  aside  in  the  dark  to  cool. 

13th.  Printing  the  Metal  Plate. 

Prepare  the  printing  frame,  in  which  lay  the  negative  and 


48 


PHOTOENGRAVING  BY  THE 


plate,  lay  over  them  one  or  two  thicknesses  of  soft  felt,  then 
the  cover,  and  screw  down. 

Begin  screwing  down  with  centre  screw,  gradually  going 
over  the  whole,  the  corners  last  and  most  gently. 

Set  in  the  sun,  and  expose  the  time  judged  needful — one 
to  three  minutes ;  in  cloudy  weather,  from  three  to  twelve 
minutes,  according  to  density  of  negative. 

Remove  from  printing  frame  in  dark-room  and  place  in 
lukewarm  water;  rock  for  about  three  minutes  and  wash 
thoroughly  under  the  tap. 

Set  aside  to  dry  spontaneously,  or  flow  over  with  alcohol 
and  burn  dry  at  once. 

14th.  Burning  the  Enamel. 

With  the  plate  held  in  pair  of  pincers,  hold  over  a  gas  or 
other  clean  burning  stove  till  it  comes  to  a  rich,  dark  brown. 

15th.  Etching. 

Formula  for  Copper. 


Solution  of  perchloride  of  iron .  i  ounce 

Water..; .  6  ounces 

Formula  for  Zinc. 

Nitric  acid .  i  drachm 

Water . io  ounces 


Place  solution  in  a  shallow  dish  and  insert  the  plate,  gently 
brushing  away  the  oxidation  which  occurs,  with  a  camePs-hair 
brush,  going  over  the  plate  in  small  circles. 

Etch  from  five  to  fifteen  minutes,  carefully  watching  for 
any  break  in  the  enamel. 

For  zinc  a  tub  may  be  used,  flowing  the  solution  over  the 
plate  by  rocking. 

Wash  well  under  the  tap,  and  dry  somewhat  quickly  over 
the  gas  stove. 

Mount  on  wood,  prove  on  press,  and  rejoice  at  your 
success  ! 

Conclusion . — Our  task  is  ended.  We  have  endeavored  to 
describe  the  process  with  the  utmost  plainness — indeed,  so 
plain  that  “he  who  runs  may  read”  ;  and  if  our  directions  are 


HALF-TONE  ENAMEL  PROCESS. 


49 


attended  to  with  ordinary  intelligence  and  care,  there  cannot 
be  a  doubt  but  that  the  result  will  be  a  gratifying  success. 
It  will  only  remain  to  finish  the  work  by  mounting  on  wood, 
to  the  height  of  type,  to  suit  it  for  printing  by  the  typo¬ 
graphic  process.  To  do  so,  however,  will  require  machinery 
of  an  expensive  character,  and  the  use  of  power  for  its  opera¬ 
tion  ;  and  unless  the  student  purposes  going  into  the  business 
on  an  extensive  scale,  it  will  be  found  more  economical  to 
engage  that  this  part  of  the  work  be  done  by  some  electro- 
typer  already  possessed  of  the  appliances.  But  if  he  has 
determined  on  having  a  perfect  outfit,  the  manufacturers  of 
such  machinery  will  only  be  too  glad  to  furnish  him  with 
reliable  data  concerning  it. 


APPENDIX. 


THE  Enamel  Process,  as  described  by  Mr.  Whittet,  will 
produce  the  best  results  if  strictly  adhered  to.  However, 
there  is  diversity  of  opinions  as  to  formulae  which  present  the 
least  difficulties,  with  less  chances  of  failure,  and  at  the  same 
time  which  will  produce  the  best  results.  We  desire  to 
embody  in  this  short  appendix  the  formulae  recommended 
authoritatively  by  Professor  Todd,  of  the  Chautauqua  School 
of  Photography,  who  is  an  expert  photo-engraver,  and  who  has 
been  interested  in  the  Enamel  Process  from  its  infancy. 
Professor  Todd  prefers  to  work  on  copper,  and  his  stock  for 
those  who  desire  to  begin  work  is  as  follows : 

Three  trays,  a  little  larger  than  the  largest  plate  to  be  used, 
and  preferably  made  of  the  composition  commonly  called 
vulcanite,  one  eight-inch  Wedgewood  mortar  and  pestle,  some 
fine  charcoal  for  polishing  the  plate,  an  egg-beater,  and  the 
necessary  graduates  and  funnels.  The  chemicals  required  are 
as  follows  :  S.  P.  C.  pure  bichromate  of  ammonium — let  us  say, 
half  a  pound,  to  establish  the  proportion  in  which  the  chemicals 
should  be  ordered — pure  gum  arabic,  five  pounds ;  pure  white 
rock  candy,  two  pounds;  solution  of  perchloride  of  iron  as 
sold  by  the  chemists;  bichromate  of  potash,  five  pounds; 
common  sulphuric  acid,  five  pounds. 

The  Enamel  solution  is  prepared  as  follows: 

Pure  gum  arabic . 400  grains. 

Pure  rock  candy .  80  grains. 

This  is  placed  in  the  mortar  and  ground  to  powder  with 
the  pestle,  and  then  transferred  to  a  16-ounce  wide-mouthed 


52 


APPENDIX. 


bottle,  to  which  is  added  8  ounces  of  distilled  or  pure  rain  water. 
Stir  with  glass  rod  until  dissolved.  Add,  besides,  45  grains 
S.  P.  C.  bichromate  of  ammonia.  Take  the  whites  of  three 
eggs,  carefully  separated  from  the  yolks,  beat  thoroughly,  and 
add  to  above  solution ;  shake  well  and  filter  twice  through 
calico  or  muslin,  then  again  through  absorbent  cotton  placed  in 
the  neck  of  a  glass  funnel.  The  solution  is  then  allowed  to 
ripen  for  twelve  hours,  when  it  is  again  filtered  through 
cotton,  and  thus  made  ready  for  use.  This  solution  will  keep 
in  good  condition  for  about  a  week. 

TO  SENSITIZE  THE  COPPER  PLATE. 

Take  a  copper  plate  about  one  inch  larger  each  way  than 
the  negatives.  Polish  perfectly  with  charcoal,  not  allowing 
the  fingers  to  touch  the  surface  at  any  time  during  or  after 
polishing.  This  polishing  must  be  done  with  plenty  of  water 
flowing  over  the  plate.  When  polished,  rinse  perfectly  clean 
under  tap  and  at  once  remove  to  room  lighted  by  gas  or 
unprotected  lamp. 

The  plate  must  be  kept  wet  and  coated  as  soon  as  possible  to 
prevent  oxidation.  Allow  the  wet  copper  plate  to  rest  on  the 
finger-ends  of  right  hand,  and  take  the  whirlerin  the  left,  jaws 
up  and  hinges  down ;  separate  the  boards  and  place  plate 
between,  just  under  the  tacks  and  face  upward.  When 
whirler  is  turned  over  for  action  the  hinge  end  will  be 
up  and  the  plate  end  down,  with  plate  face  down.  While 
holding  whirler,  with  plate  face  up,  pour  a  little  solution  on 
the  plate,  and  cause  some  to  flow  completely  over  the  plate  as 
collodion  is  flowed  to  coat  the  negative.  Tilt  plate  and  drain 
off  into  sink ;  repeat  the  operation  without  allowing  any  solu¬ 
tion  to  run  off ;  then  reverse  whirler  by  a  dexterous  movement, 
which  will  be  learned  by  practice  only,  striving  to  keep 
solution  from  running  off  the  plate,  or  from  running  to  one 
end.  Quickly  take  hold  of  knob  at  top  with  left  hand  and 
proceed  to  slowly  rotate  whirler  by  crank  under  knob. 

Begin  at  about  two  turns  per  second,  and  slowly  increase 
the  rapidity  till  the  plate  is  dry.  All  this  time  the  small  gas, 
or  oil,  stove  should  be  burning  under  the  plate  to  dry  it.  The 


APPENDIX. 


53 


plate  should  be  at  a  distance  of  about  thirty  inches  from  fire. 
The  plate  should  take  about  five  minutes  to  dry,  and  when 
perfectly  so,  allow  it  to  cool,  and  it  will  then  be  ready  for  the 
printing  frame.  Do  not  allow  the  plate  to  become  hotter  than 
can  be  borne  by  the  hand. 

Printing. 

Place  negative  in  pressure-screwframe  and  carefully  lay  cop¬ 
per  plate,  with  the  coated  side  down,  on  top  of  the  negative, 
and  fit  in  the  back  of  the  frame.  Turn  down  the  screws,  but 
do  not  use  excessive  pressure.  If  negative  is  good  and  clear 
expose  to  the  full  sunshine  from  two  and  a  half  to  three  and  a 
half  minutes. 

Development. 

Retreat  to  dark-room  and  remove  the  plate.  The  image 
will  be  barely  visible  on  it.  Fill  one  of  the  trays  with  clean, 
clear  water,  at  about  100  deg.  Fahr.,  to  a  depth  of  about  one 
inch.  Lay  the  plate  in,  face  up,  and  gently  rock  tray  for 
about  two  minutes.  Remove  and  wash  well  under  stream  from 
tap.  Drain  a  moment  and  place  plate  in  a  tray  of  alcohol 
(grain,  not  wood)  for  about  a  minute,  to  remove  the  water, 
then  take  out  and  rack  to  dry. 

It  will  take  from  ten  to  fifteen  minutes  to  dry,  when  plate 
will  be  ready  to  “burn  in.”  Light  the  large  stove  and  quickly, 
but  evenly,  heat  plate  until  the  enamel  assumes  a  dark 
mahogany  color,  and  the  bare  copper  turns  to  a  bluish-white 
or  steel  color.  The  plate  is  then  allowed  to  cool  preparatory 
to  etching. 

Etching. 

The  solution  of  perchloride  of  iron  is  first  used  undiluted 
as  it  becomes  more  active  when  water  is  mixed  with  it. 

Yarnish  back  of  plate  with  weak  alcoholic  shellac  varnish, 
and  dry  thoroughly.  Lay  the  plate  in  the  tray  and  pour  a 
sufficient  quantity  of  the  iron  solution  to  cover  it.  Immediately 
pass  a  camel’s  hair  brush  over  the  plate  to  remove  all  air 
bubbles,  specks  of  dirt,  etc.  The  proper  depth  to  which  the 
plate  must  be  etched  can  only  be  learned  by  experience,  but 


54 


APPENDIX.  i 


it  is  safe  to  say  that,  with  new  iron  solution,  about  fifteen  to 
twenty  minutes  will  suffice.  When  etched  sufficiently  deep, 
remove  and  wash  under  tap.  Try  a  proof,  and,  if  satisfactory, 
clean  carefully  with  benzine  and  clear  plate  in  the  following 
solution : 


Saturated  solution,  bichromate  potash .  4  ounces. 

Water .  8  ounces. 

Common  sulphuric  acid .  i£  ounces. 


This  solution  should  be  at  least  twelve  hours  old.  Place 
the  plate  in  this  solution  and  quickly  rub  over  with  a  wad  of 
cotton.  This  brightens  the  bare  copper  and  improves  the 
appearance.  When  the  iron  solution  gets  old  and  slow,  a  little 
water  can  be  added.  When  25  per  cent,  of  water  has  been 
added,  throw  away,  and  use  new  iron  solution. 

The  following  is  a  rough  sketch  of  the  whirler,  or  device  for 
holding  the  plate  while  drying,  which  Prof.  Todd  suggests : 


AA.  Two  Boards  X  inch  thick,  4  inches  wide,  joined  at  B  with 
hinges  C  spring  to  draw  AA  together,  so  as  to  clamp  plate  D. 

E.  The  means  for  producing  a  rotary  motion  to  the  whole. 

The  two  boards  indicated  by  AA  must  be,  at  least,  as  long 
as  the  largest  plate  to  be  used,  and  to  serve  as  a  rest  for  the 
plate  two  tacks  are  driven  on  the  inside  of  each  cf  the  boards, 
about  half  and  inch  from  the  ends. 


APPENDIX. 


55 


Order  List. 

The  beginner  is  so  often  puzzled  in  making  out  his  first 
order  list  that  the  following  will  be  found  of  great  help  as 
a  guide : 

i  ioxi2  Scovill  Enlarging,  Reducing  and  Copying 

Camera,  fitted  with  Patent  Screen  Plate  Holder.  .$56  00 

1  Camera  Swing . . . 20  00 

1  Copy  Board . . .  2  00 

1  Max  Levy  Screen,  133  lines  to  the  inch,  10x12 . 80  00 

1  Rectilinear  Lens,  Rapid  Paragon,  ioxi2,w.  D - 68  00 

2  2-quart  Funnels,  glass,  25c .  50 

6  8-ounce  Funnels,  glass,  12c .  72 

1  Package  No.  33  Filtering  Paper .  75 

2  Hydrometers,  50c .  1  00 

2  11  x  14  Glass  Baths  in  Studio  Box,  $7 .  14  00 

1  Rubber  Dipper, .  60 

1  2-gallon  Evaporating  Dish .  3  00 

2  10x12  Porcelain  Trays,  $1.66 .  3  32 

2  10x12  Vulcanite  Trays,  $1.75 .  3  50 

2  16-ounce  Graduates,  75c .  1  50 

4  4-ounce  Graduates,  30c . 1  20 

1  9x11  Printing  Frame,  i-inch  glass .  9  50 

1  8x10  Retouching  Frame . 3  75 

2  Large  Negative  Racks .  00 

1  13-inch  French  Hand  Roller .  7  00 

1  Composition  Roller,  12-inch .  4  00 

2  Pincers .  2  00 

2  Acid  Brushes . 3  50 

1  Ink  Spatula .  1  00 

1  Hook  for  cutting  Zinc  Plates. . .  1  50 

Retouching  Brushes .  50 

1  gallon  Absolute  Alcohol .  4  00 

3  pounds  Ether .  2  63 

4  ounces  Pary’s  Gun  Cotton,  50c .  2  00 

4  «  Iodide  Potass.,  30c .  1  20 

2  «  Resubl.  Iodine,  35c . 70 

3  pounds  Nitrate  Silver  Crystal,  $8.50 .  25  50 

1  «  Absorbent  Cotton,  1  pound  packages .  75 

5  »  Protosulphite  Iron,  10c .  50 

1  *  Citric  Acid .  70 

1  »  Bichloride  Mercury .  1  00 

5  »  Cyanide  Potash .  3  25 

1  »  Glycerine .  30 

5  books  Blue  Litmus  Paper,  5c .  25. 

1  pound  Aqua  Ammonia  fort .  32 


•56 


APPENDIX. 


34  pound  Nitric  Acid,  C.  P .  $o  45 

1  gallon  Benzole .  1  50 

1  pound  Bichromate  Ammonia .  75 

1  //  Caustic  Potash .  15 

8  »  Commercial  Nitric  Acid,  45c .  360 

1  »  Ferri  Chloride,  1  bottle .  30 

1  »  Rubber  Cement,  1  can .  30 

1  »  Nitrate  Lead,  1  bottle .  1  00 

1  n  Ferricyanide  Potash ,  1  bottle .  1  00 

34  "  Transfer  Ink .  2  55 

y2  »  Engravers’  Charcoal .  1  50 

1  «  Pumice  Stone .  10 

5  »  Sulphate  Copper,  40c .  2  00 

2  «  %-inch  Brass  Pins,  40c .  80 

1  »  Lithograph  Ink,  black .  3  50 

2  gallons  Le  Page’s  Liquid  Glue,  $2.25 .  4  50 

1  set  Engraving  Tools .  1  50 

1  »  Finishing  Tools .  2  50 

1  %-inch  Flat  File .  50 

1  1 -inch  Flat  File .  85 

1  set  Assorted  Sable  Pencils,  Nos.  1  to  6 .  62 

1  Darlot  Focusing  Glass .  2  50 

1  5-inch  Engravers’  Pad,  filled .  1  00 

1  Egg  Beater . 30 

1  set  Roulettes . .  6  00 

1  16-ounce  Plain  Collodion  Vial .  55 

1  pound  Best  Dragons’  Blood .  85 

Polished  Zinc  Plates,  square  inch .  01 

»  Copper  Plates  «  .  01 34 


THE  VALUE  OF  MACHINERY  IN  PROCESS- 
ENGRAVING. 

There  are  two  sides  to  process-engraving ;  the  artistic  and 
the  commercial;  and  while  the  artistic  side  may  be  said 
to  end  with  the  completion  of  the  plate — np  to  which  point 
but  little  in  the  way  of  machinery  is  required — the  commercial 
side  proceeds  through  the  various  operations  of  blocking  and 
preparing  the  plate  for  the  printer,  all  of  which  are  of  great 
importance,  and  demand  not  only  perfect  accuracy  in  all 
dimensions,  but  rapidity  of  execution  as  well,  time  being 
money  to  the  engraver  as  well  as  to  others. 

Engravers’  machinery,  to  give  satisfaction,  should  possess 
characteristics  not  always  present  in  the  ordinary  run  of 


APPENDIX. 


57 


machinery.  One  prime  essential  is  the  capacity  for  doing  work 
with  mathematical  accuracy.  The  importance  of  this  will  be 
at  once  apparent,  as  it  is  clear  that  inaccurate  work  in  the 
finishing  or  blocking  of  the  plate  will  necessarily  be  followed 
by  corresponding  irregularity  in  the  printing,  working  destruc¬ 
tion  to  the  carefully  studied  effects  of  the  artist. 

A  few  illustrations  of  the  leading  machines  at  the  com¬ 
mand  of  the  engraver,  together  with  short  explanatory  remarks 
as  to  their  uses  and  powers,  may  not  be  amiss. 


The  Router  is  entitled  to  first  mention,  as  it  is  one  of  the 
oldest  machines  used  in  the  engraving  trade,  and  covers  an 
exceptionally  wide  field,  although  it  is  not  so  extensively  used 
in  half-tone  work  as  in  other  branches.  The  purpose  of  this 
machine  is  the  cutting  away  of  such  parts  of  engraved  plates  or 
blocks  as  it  is  desired  to  leave  blank  in  the  printing.  This  is 
accomplished  by  means  of  a  rapidly  revolving  cutter,  set  in  a 


58 


APPENDIX. 


spindle  at  the  end  of  a  projecting  arm,  and  varying  in  shape 
and  size  according  to  the  work  to  be  performed.  There  are  two 
classes  of  routers;  those  in  which  the  spindle  is  set  at  the 
end  of  a  movable  arm,  the  work  being  securely  attached  to 
the  table  while  being  routed ;  and  those  in  which  the  spindle 
is  fixed,  the  work  not  being  fastened  to  the  table  on  the 
machine  but  sliding  freely  beneath  the  cutter.  The  first  form 
of  construction  is  much  to  be  preferred  on  account  of  the 
superior  facility  with  which  work  can  be  done.  The  fixed 
spindle  machines,  however,  can  be  constructed  very  cheaply, 
and  can  sometimes  be  used  to  advantage  where  the  quantity 
of  routing  to  be  done  is  limited. 


A  machine  almost  universally  serviceable  in  an  engraving 
establishment  is  the  saw-table.  The  engravers’  saw  table,  to 
answer  the  requirements  of  the  case,  should  be  a  machine  of 
the  most  absolute  reliability  and  accuracy,  and  should  be  used 
for  sawing  and  nothing  else.  It  is  customary,  with  some 
engravers,  to  combine  other  machines  with  the  saw-table. 
There  is  no  true  economy  in  this,  and  the  idea  that  good 
work  can  be  done  on  a  machine  of  this  sort  is  falla¬ 
cious.  The  chief  requirements  of  this  machine  are  that 


APPENDIX. 


59 


the  bed,  or  table,  should  have  an  absolutely  even  surface, 
and  that  it  should  be  equipped  with  perfectly  reliable  gauges. 
Further  than  this,  it  should  be  sufficiently  powerful  to  cut 
the  softer  metals  with  facility,  and  the  mechanical  construction 
should  be  such  as  to  insure  a  continuance  of  relative  accuracy, 
between  the  various  parts,  for  a  considerable  length  of  time. 
A  poorly-made  saw-table  is  a  genuine  affliction,  and  a  good 
saw-table  is  a  constant  convenience. 

While  some  engravers  are  satisfied  with  sending  out  blocks 
just  as  they  leave  the  saw,  without  further  finish,  it  is  gener¬ 
ally  the  custom  to  smooth  off  the  edges  with  a  shoot-board  or 
trimmer.  The  shoot- board  is  simply  a  heavy,  iron  bed,  with  a 


plane  running  in  a  groove  at  the  side,  and  equipped  with  a 
square  fence  at  the  end  against  which  the  blocks  are  set  while 
being  planed.  The  shoot-board  is  operated  by  hand,  not 
requiring  power.  F or  jioing  work  more  rapidly,  power- 
driven  edgers  are  used,  performing  the  same  functions  as  the 
shoot-plane,  but  doing  the  work  much  more  quickly. 

One  of  the  most  important  machines  in  half-tone  work  is 
the  beveler.  This  machine  is  intended  to  be  used,  as  its 
name  implies,  for  cutting  a  bevel,  or  rabbet,  around  the  edge 
of  the  plate  preparatory  to  blocking.  The  necessity  for  this 
is  apparent,  as  unless  a  suitable  place  is  provided  for  driving 
the  nails,  their  heads  will  appear  above  the  surface  of  the 
engraving,  marring  the  plate  and  showing  in  the  printing. 
The  beveler  is  the  most  effective  machine  obtainable  for  doing 


60 


APPENDIX. 


this  work,  although  the  same  service  can  be  performed  on  the 
router.  Routing  the  bevel  is,  however,  many  times  slower, 
and  the  results  are  not  as  neat  and  finished  as  those  obtained 
with  beveler. 


The  machines  enumerated  above  are  those  vitally  important 
to  the  successful  operation  of  an  engraving  plant  on  a  com¬ 
mercial  basis.  There  are  others  more  or  less  important,  accord¬ 
ing  to  the  volume  of  business  done ;  but  with  a  good  router, 
saw,  shoot-board  and  beveler,  the  average  engraver  is  very  well 
equipped  in  the  mechanical  branch. 

It  is  of  the  first  importance  that  those  entering  the  field 
with  a  view  to  doing  commercial  engraving  should  be  pro¬ 
perly  equipped  to  turn  out  work  on  a  commercial  basis.  Well 
constructed  machinery  will  do  a  great  many  things  faster  and 


I 


APPENDIX. 


61 


better  than  they  can  possibly  be  done  by  hand,  and  all  first-class 
engraving  establishments  pay  close  attention  to  this  department, 
knowing  that  profits  are  dependent,  to  a  great  degree,  on  rapid, 
perfect  work. 

As  few  engravers  have  either  the  time  or  the  inclination  to 
study  mechanics  deeply  enough  to  determine  the  true  merits 
of  a  machine  in  any  other  way  than  by  actual  practice,  it  will 
be  found  that  the  reputation  of  the  maker  is  the  safest  guide  to 
follow  in  selecting  this  part  of  the  outfit.  The  oldest  and  best- 
known  firm,  making  a  specialty  of  engravers’  machinery,  is  that 
of  John  Hoyle  &  Sons,  Paterson,  N.  J.,  U.  S.  A.  The  first 
work  of  this  description  ventured  on  by  this  firm  was  the 


construction  of  routing  machines  for  the  manufacture  of  wood- 
type.  Several  machines  of  this  class  were  built  by  the  Hoyles 
at  a  period  ante-dating  the  civil  war,  and  since  that  time  they 
have  continued  in  the  field  uninterruptedly,  improving  and 
adding  to  their  line  of  machinery  and  keeping  pace  with  the 
increasing  demand  for  improved  facilities.  One  important 
factor  in  determining  the  adoption  of  engravers’  machinery, 
by  this  firm,  as  a  leading  specialty,  was  that  the  present 
manager  of  the  business  was,  for  many  years,  in  close  touch 
with  the  trade  in  New  York  City,  and  thus  acquired  a  prac- 


62 


APPENDIX. 


tical  knowledge  of  the  needs  of  the  business  that  could  not 
have  been  attained  in  any  other  way.  This  special  knowledge, 
combined  with  a  thorough  comprehension  of  mechanical  prin¬ 
ciples  and  the  limits  within  which  they  can  be  successfully 
applied,  have  been  put  to  good  use  in  developing  a  line  of 
machinery  of  the  greatest  utility  in  all  branches  of  commercial 
engraving. 

The  Editor. 


DRY  PLATES  INSTEAD  OF  THE  OLD 
PROCESS. 

Prof.  Todd  has  been  very  successful  in  his  experiments 
with  the  Carbutt  Process  Plates,  and  it  will  not  be  amiss  to 
quote  from  the  valuable  article  which  appeared  on  the  subject 
in  The  Photographic  Times. 

“  Since  the  advent  of  what  is  now  called  the  half-tone 
photo-engraving  method,  the  making  of  the  negative  has,  by 
the  majority  of  operators,  been  accomplished  by  the  wet 
collodion  process,  as  the  more  rapid  gelatino-bromide  plate 
was  not  amenable  to  the  treatment  of  clearing  and  intensifying 
used  in  the  wet  process.  It  is  the  purpose  of  this  article  to 
show  and  prove  that,  by  the  use  of  a  specially  prepared  pro¬ 
cess  plate  made  by  the  writer,  equally  as  tine  half-tone  blocks 
are  produced  as  by  the  wet-plate  process,  and  have  been 
used  for  a  year  or  more  past  by  firms  who  formerly  used  the 
wet-plate  method,  but  have  laid  it  aside  to  the  exclusive  use 
of  the  gelatine  process  plate.  As  the  gelatine  plate  is  always 
ready  for  use,  and  more  sensitive  than  the  bath  plate,  and  the 
time  taken  up  in  developing,  clearing  and  intensifying,  being 
about  the  same  as  the  wet  plate,  much  valuable  time  is  saved, 
besides  relieving  the  operator  of  preparing  collodion,  keeping 
silver  baths  in  order,  etc.  The  same  plates  are  used  in  pro¬ 
ducing  negatives  of  pen  drawings,  reproduction  of  wood 
engravings  for  transfer  to  stone,  or  producing  deep  etched 
blocks.  The  following  solutions  are  required  for  developing, 
clearing,  fixing,  reducing  and  intensifying  the  process  plates : 


APPENDIX. 


63 


Developing  Formula  for  Half-tone  (Screen)  and  Negatives 
of  Pen  Drawings. 


No.  i. 

Neutral  oxalate  of  potash .  i  pound 

Warm  water  (free  from  lime  salts) .  48  ounces 


Add  of  a  strong  solution  of  citric  acid  enough  to  just  turn 


litmus  paper  red. 

No.  2. 

Sulphate  of  iron  .  y2  pound 

Warm  water . . .  24  ounces 

Sulphuric  acid .  15  drops 

No.  3. — Restrainer. 

Potassium  bromide . .  jounce 

Water .  10  ounces 


To  Develop. 

“  To  5  ounces  No.  1,  add  1  ounce  No.  2  and  10  drops  No.  3. 

“  To  get  an  even  developed  plate,  use  sufficient  developer  to 
well  cover  the  plate,  allow  to  act  until,  on  looking  through, 
the  image  appears  quite  dense,  then  wash  and  place  in  clearing 
bath  one  or  two  minutes. 

No.  4. — Clearing  Bath. 

Water . 

Alum . 

Citric  acid . 

“  Again  wash  and  immerse  in  fixing  bath. 

No.  5. — Fixing  Bath. 


Water . 6  ounces 

Sulphite  soda .  ...  2  ounces 

Water .  2  ounces 

Sulphuric  acid .  1  drachm 

Water .  48  ounces 

Hyposulphite  soda .  1  pound 

Water .  8  ounces 

Chrome  alum .  1  ounce 


“  Dissolve  in  the  order  given,  add  the  solution  of  sulphuric 
acid  to  the  sulphite  of  soda ;  add  this  to  the  hyposulphite,  and 
finally  add  the  solution  of  chrome  alum. 


20  ounces 
1  ounce 
y  ounce 


64 


APPENDIX. 


No.  6. — Reducing  Solution. 

Ferricyanide  potassium .  50  grains 

Water .  10  ounces 

No.  7. — Bleaching  Solution. 

No.  1. 

Bichlor.  mercury .  240  grains 

Chloride  ammonia .  .  240  grains 

Distilled  water .  20  ounces 

No.  2. 

Chloride  ammonia . 340  grains 

Water  .  20  ounces 

No.  8. — Cyanide  Silver  Solution. 

Distilled  water .  6  ounces 

Cyanide  potass.  C.  P .  60  grains 

Distilled  water .  2  ounces 

Nitrate  of  silver .  60  grains 


“  Pour  the  silver  into  the  cyanide  solution  while  stirring, 
and  mark  bottle  Poison. 

“  Notes  on  using  the  foregoing  Solutions. — Supposing  that 
6  ounces  of  developer  are  mixed,  and  a  number  of  plates  are 
developed,  if  bulk  is  reduced  to  4  ounces,  add  2  ounces  of  a 
fresh  mixture  and  no  bromide  ;  also  if  what  is  left  is  placed  in 
a  bottle,  on  using  it  the  next  day,  mix  half  of  it  and  half  of 
fresh  mixed  developer,  and  it  will  be  found  to  work  more 
uniform  than  the  developer  freshly  mixed,  the  old  acting  as 
a  restrainer.  Always  use  No.  4  solution  after  washing  off  the 
developer,  as  its  function  is  to  remove  any  trace  of  iron  left 
in  the  film,  which  if  not  removed  will  leave  an  opalescence  in 
the  clear  spaces,  also  to  harden  the  film  and  prevent  its  swell¬ 
ing  up.  After  a  stay  of  not  less  than  two  minutes  in  No.  4 
solution,  the  negative  is  thoroughly  rinsed  and  placed  in  No.  5 
fixing  hath,  and  when  thoroughly  cleared,  remove.  Do  not 
proceed  to  wash  out  the  hyposulphite  as  is  ordinarily  done,  but 
simply  pass  the  negative  through  water  to  remove  the  surplus 
hypo  solution  on  surface,  then  examine  with  magnifying  glass 
to  determine  whether  any  reducing  or  clearing  is  required, 
either  as  a  whole  or  locally,  which  I  consider  is  best  done  at 
this  stage,  as  the  hypo  left  in  the  film  acts  with  the  reducer — 
ferricyanide  of  potash — much  better  in  clearing  the  transpar- 


APPENDIX. 


65 


ent  places ;  then  if  a  mixture  of  hypo  and  ferricyanide  were 
used  after  all  hypo  had  been  washed  out,  the  five  grains  solu¬ 
tion  of  No.  6  can  be  used  as  a  bath  in  a  white  porcelain  dish, 
and  the  reducing  effect  watched  closely,  then  removed,  and  its 
action  immediately  stopped  by  washing.  If  any  part  of  the 
negative  is  found  to  require  local  reduction,  the  No.  6  solution 
can  be  applied  to  the  part  to  be  reduced  with  a  tuft  of  absorb¬ 
ent  cotton,  or  large  round  camel  hair  brush  and  then  washed 
to  remove  all  hypo.  If  intensification  is  required  it  is  best 
done  after  the  negative  has  been  allowed  to  dry,  but  as  time  is 
of  the  utmost  importance  in  this  class  of  work,  intensification 
can  be  done  now,  the  only  danger  being  of  any  hypo  remain¬ 
ing  in  the  film,  which  would  cause  a  yellow  stain  after  being 
intensified.  To  avoid  this  place  in  No.  4  for  one  minute,  then 
wash  and  place  in  the  mercury  solution  until  whitened,  then 
wash  again,  and  reduce  the  chlorized  image  to  black,  either 
with  a  10  per  cent,  solution  of  sulphite  of  soda  or  the  cyanide 
of  silver  solution ;  the  latter  gives  the  clearest  and  most  dense 
deposit ;  wash  for  a  few  minutes  and  dry  spontaneously,  or, 
if  desired  to  dry  quickly,  it  may  be  dried  in  warm  air,  at  a 
temperature  of  90  to  100  degs.  Where  electric  light  is  used, 
if  the  negative  is  placed  before  a  small  electric  fan,  it  will  dry 
very  rapidly,  as  the  film  of  gelatine  on  these  process  plates  is 
very  compact,  and  does  not  swell  up  to  any  appreciable  extent. 
I  think  I  have  now  explained  sufficiently  the  mode  of  using 
the  process  plate  for  producing  half-tone  negatives  from  which 
blocks  can  be  made  that  will  furnish  prints  of  the  highest 
quality,  and  enable  those  who  are  tired  of  the  vagaries  of  the 
old  wet  method,  to  realize  that  time,  patience  aud  money  is 
saved  by  adopting  the  new.  For  those  who  do  not  use  a  prism 
to  reverse  the  image,  Carbutt’s  Stripping  Process  Plates  can 
be  used,  and  are  treated  just  the  same  as  plain  plates ;  when 
dry  they  are  placed  on  a  leveling  stand,  on  three  points, 
brought  to  a  level,  the  plate  covered  with  Carbutt’s  Stripping 
Medium,  using  2  ounces  for  8x10  plates;  1J  ounces  for 
6 \  x  Si  ;  £  ounce  for  5x7.  In  a  warm  room  it  will  dry  in  12 
hours,  or  over  night.” 


ro cess 


HXHorkers 


(cTriKz)  Should  remember  that  success  de¬ 
pends  on  the  use  of  the  best 
Apparatus  and  Materials,  viz. : 


^ofoOporo 


Opofo  opofo 
0fox9(5~o 


Zeiss  Hertses, 


(fIBafce  bg  Carl  Zeiss,  of  5ena,) 


op  0(0  op  ofo 


opofovo^0 


Which  have  superseded  all  other 
types  of  Lenses  for  these  purposes. 


Seoviirs  Cop\>lri0  Cameras, 


Op  0(0  op  ofo 


op  o(o  j)o(o 
00X9^0X9 

QvO  o  CVO  5) 

Opo/o  Op  0(0 


Fitted  with  the  improved  S.  &  A. 
Photo-Engravers’  Adjustable  Screen 
Plate-Holder,  without  which  the 
best  results  cannot  be  obtained  in 
the  half-tone  process. 


ScovlU’s  pbotolSnoravnng 


^P  0(0  op  o(0 
(5^0X5  00X5 


Opofo  °P  0(0 


Op  0(0  °P  0(0 


Op  0(0  op  0(0 


3 


^HPrlntlno  jframes, 

Scovill’s  Improved  Etcher’s  Tub, 
Carbutt’s  Process  Plates,  Etc.,  Etc. 

Send  for  our  Photo-Engravers'  Catalogue. 


Cbe  Scovtll  &  abams  Co.  of  1R.  p. 


60  AND  62  EAST  11th  STREET, 


NEW  YORK,  U.  S.  A. 


1 


German  Patent ,  No.  74,437. 
American  Patent,  No.  528,155. 


Goerz  Double 
Anastigmats 

Are  by  all  authorities  said  to  be 

MOST  PERFECT  LENSES. 

Series  III.  Universal  Lens. 

Series  IV.  especially  for  Photo= 
Engraving  Work. 

PRICES  REDUCED  20  PER  CENT. 

Ask  for  Catalogue,  Testimonials  and  Test-Chart. 

FOR  SALE  BY  ALL  DEALERS  OR 

.  C.  P.  GOERZ, 

factory  .  52  Union  Square  (East), 

Berlin,  Germany.  New  York. 


11 


THE  S.  &  A.  PHOTO-ENGRAVERS’ 

MjustaMe  Screen  Plate  Holder. 


HE  BEST  MAXIMS  are  the  most  often  re¬ 
peated,  so  we  will  once  more  call  attention 
to  the  fact  that  without  the  S.  &  A.  Photo 
Engravers’  Adjustable  Screen  Plate  Holder,  none  of 
the  finest  results  can  be  obtained  in  the  half-tone 
process.  The  holder  has  the  additional  advantage 
of  saving  a  great  deal  of  time  and  labor,  while  re¬ 
ducing  to  the  minimum  the  chances  of  dropping 
the  costly  screen.  The  expert  photo-engraver 
knows  all  this  very  well,  for  the  S.  &  A.  Holder 
is  in  use  in  all  the  leading  establishments  in  this 
country ;  but  it  is  the  prospective  engraver  and 
investor  who  should  heed  the  advice  of  the  prac¬ 
tical  workers. 

iii 


JOHN 


_  \  CARBIJTTS 

jjkVlalf"-  Tone  Irocess  Plates 

V^j  /  Specially  made  for  Photo-Etchers 

/onGopper,  Brass  or  Zinc, 

CflRBUTT  I  5IVm5  lte5atlves  e^Ltal  >f  not 


MflflUFACTURER  OF 


DryPlates,  Films  Superior  to _ _ _ 

PHOTOGRAPHIC"' SPECIALTIES  ^-rr  n 

WZ»"  Wet  bollodion  Plates. 


PRICE  LIST— PLAIN,  ORTHOCHROMATIC  AND  STRIPPERS. 


Sizes. 

Per  Doz, 
Plain 
or  Ortho. 

Per  Doz. 
Strippers. 

No.  of 
Doz. 
in  case. 

Sizes. 

Per  Doz. 

Plain 
or  Ortho. 

Per  Doz. 
Strippers. 

No.  of 
Doz. 
in  Case. 

3%  x  4^ 

$0  45 

$0  70 

36 

ty2  x  sy 

$r  65 

$2  20 

12 

4  x  5 

0  65 

O  90 

36 

8x10 

2  40 

3  20 

12 

4^  x  ty2 

1  00 

I  25 

24 

IO  X  12 

3  80 

5  00 

4 

5  x  7 

1  10 

I  45 

24 

ii  x  14 

5  00 

6  65 

3 

5  x  8 

1  25 

I  65 

24 

14  x  17 

9  00 

12  00 

2 

CARBUTT’S  FLUID  STRIPPING  MEDIUM, 

Which  has  been  arrived  at  after  a  series  of  exhaustive  experiments,  is 
destined  to  entirely  supersede  the  old  Gelatine  processes.  It  is  supplied 
already  prepared  from  the  factory.  It  is  applied  cold ,  sets  and  dries 
quickly,  forming  a  pellicle  negative,  thin ,  tough  and Jlexible ,  and  may 
be  printed  from  either  side.  Full  particulars  for  use  accompany  each 
package. 

PRICE:  Pint  Bottles,  75c.;  Quart  Bottles,  $1.35;  per  Gallon,  $5.00. 


“We  have  been  in  the  photo-engraving  business  over  three  years. 
Used  wet-plates  for  two  years,  and  your  process-plates  for  the  last  year 
on  half-tone  work.  Each  lot  seemed  uniform  with  the  others  and 
worked  well.  Have  not  had  a  wet-plate  bath  in  the  place,  even  for  line 
work  (or  half-tone  either)  for  over  a  year,  and  have  turned  out  just  as 
good  half-tone  work  as  can  be  done,  so  our  customers  say.  It  is  as 
good  as  we  could  ever  get  with  wet-plates.” 

H . Eng.  Co.,  per  G.  C.  A. 


WRITE  TO  FACTORY  FOR  CIRCULARS. 

JOHN  CRRBUTT, 

^LstriP:y  Platei^.d  Wayne  Junction,  Philadelphia. 


IV 


improved  Automatic  Electric  Lamp 


FOR  PHOTO-ENGRAVING,  ETC. 

«■»'  COLT  SYSTEM. 

"T HIS  Lamp  is 
1  constructed 
on  entirely  new 
and  scientific 
principles.  Its 
advantages  are 
that  it  gives  a 
perfectly  steady  light :  it  feeds 
regularly  and  uniformly. 

The  carbons  are  provided 
with  special  adjustments,  so 
that  they  may  be  placed  in  the 
most  advantageous  position  in 
relation  to  each  other,  and  the 
Lamp  may  be  tilted  at  any 
angle  without  interfering  with  Fixed  German=SiIver  Rheostat- 
its  steadiness ;  therefore  the 
light  may  be  utilized  to  the 
best  advantage,  thus  effecting 
a  saving  of  the  operator’s  time 
and  an  avoidance  of  spoiled 
negatives. 

It  can  be  used  with  any 
desired  amount  of  current,  and 
with  the  adjustable  Rheostat, 
the  light  may  be  varied  at  will. 

Its  adjustments  are  few  and 
positive ;  it  is 
easily  managed 
and  gives  no 
trouble  or  an¬ 
noyance  to  the 
operator. 


Lamp  with  Fixed  Rheostat. 

Price,  $110.00.  Discount  according  to  quantity. 


Adjustable  German-Silver  Rheostat. 


As  these  Lamps  are  designed  for  use  on  low  tension  or  incandescent  currents,  but  are 
not  interchangeable  on  the  direct  and  alternating  circuits,  inquirers  will  please  state  which 
form  of  current  is  available  and  its  voltage. 

These  Lamps  are  also  being  introduced  for  theatre  stage  lighting,  and  are  rapidly 
taking  the  place  of  calcium  lights,  producing  a  more  powerful  light  and  being  much  more 
economical  to  operate.  Owing  to  their  steadiness,  they  are  also  in  general  use  for  stereop- 
ticon  and  enlarging  purposes ;  in  fact,  they  are  available  wherever  a  perfectly  steady 
self-focusing  arc  lamp  is  desired. 

The  feeding  of  the  carbons  is  positive,  not  depending  on  gravity,  so  that  the  lamp 
may  be  placed  at  any  angle,  and  may  be  operated  with  the  carbons  in  a  horizontal  position 
if  desired. 

THE  SCOYILL  &  ADAMS  COMPANY  OF  N.Y.,  423  Broome  Street,  New  York. 

V 


PROCESS 

WORKERS 


SHOULD  ALL  USE  THE 

Wuestner’s 

~~  New  Eagle  Plates 

THE  REGULAR  PROCESS  PLATES, 

THE  0 RTHO CHROMATIC  PLATES, 
and  NON-HALATION  PLATES  : 


All  the  leading  Process  Workers,  Litho¬ 
graphers  and  their  Color  Workers  are  using 
these  Plates  and  will  use  NO  OTHER. 


FOR  SALE  BY  ALL  THE  TRADE 

:  :  :  and  :  :  : 

Wuestner’s  New  Eaole  Dru  Plate  works, 

JERSEY  CITY. 


VI 


It  Will  Pay 

PHOTO  ENGRAVERS 


To  correspond  with  us 


in  regard  to  their  wants  for  Photo 
Engraving  Apparatus  and  Materials . 


We  have  ^ 

A  fully  equipped,  separate  depart¬ 
ment  with  its  own  distinctive  catalogue,  for 
this  line  of  goods,  under  the  charge  of  a 
practical  Photo  Engraver. 

We  are 

Constantly  introducing  new  goods 
and  improving  older  forms  of  standard  articles 
for  the  Photo  Engraver. 


Our  Photo  Engravers’  Catalogue  will  be 
sent,  postpaid,  on  application. 

Correspondence  is  solicited. 

The  Scovill  &  Adams  Co.  of  N.  F 


STEINHEIL’S 

Wide=Angle  Copying  Aplanat 


Series  VI. 

Specially  designed  for  copying  Line  Work,  Paintings, 
Engravings,  etc.  Without  a  rival  for  microscopic 
snarpness  evenly  divided  over  the  whole  field. 

Steinheil  Prisms,  series  vii. 

For  use  in  connection  with  the  above  lenses  for 
obtaining  reversed  negatives  without  stripping  the 
film. 

The  above  Lenses  and  Prisms  are  being  extensively 
used  in  the  largest  photo-mechanical  establishments 
in  preference  to  the  most  expensive  lenses  of  other 
types. 

Stoess  &  Co.’s  Gelatine. 


MARK. 


IMPROVED  QELATINE^^^ 

For  Emulsion  and  Lichtdruck. 

WRITE  FOR  CATALOGUE  AND  PRICES  TO 

H.  Q.  RAMSPERQER  &  CO.,  Sole  Agents, 
180  Pearl  Street,  New  York. 


TRADE 


Vlll 


CRAMER  PLATES 


Cramer  XiGbtmno  plates: 

BANNNER — Best  Plate  for  general  use. 

CROWN — Especially  recommended  for  Hand  Cameras 
and  Instantaneous  Work. 

Cramer  Usocbromatlc  plates : 

SLOW — Full  Isochromatic  Effect  without  the  use  of  a 
Color  Screen. 

MEDIUM — For  Landscapes,  Interiors,  etc. 
INSTANTANEOUS— For  Portraits. 

We  will,  in  future,  ship  our  Isochromatic  Plates  direct  to 
the  consumer  and  charge  to  any  dealer  he  may  designate. 

Cramer  Cransparenc\>  plates : 

For  Lantern  Slides,  etc. 

Cramer  Strlpplno  plates : 

For  Photo  Mechanical  Work. 

Cramer  IRon^lbalation  plates : 

The  only  Single-Coated  Non-Halation  Plate  on  the 
market. 

Ask  your  Dealer  for  new  discounts  on  Banner  Plates. 

Full  descriptive  catalogue  sent  to  any  address  upon 
application. 


New  York  office:  Green  St  feet. 


IX 


The  NEW  • 


AN  ASTIGMATIC 


LENS 


Made  by  CA'RL  ZEISS,  of  Jena,  Germany. 


Is  the  BEST 

- - Lens 

Made 

Anywhere. 

The  Scovill  &  Adams  Company  of  New  York, 

SOLE  IMPORTERS. 


SEND  FOR  PARTICULARS. 


USE 

HAMMHR 

m 

DRY  PLATES! 

BECAUSE  THEY  ARE 

Clear,  Clean  and  Brilliant . 

* 

THE  CHEAPEST  FIRST-CLASS  PLATE 

ON  THE  MARKET. 

* 

THE  EXTRA  FAST... 

#  Combines  Extreme  Rapidity 

with  Superior  Quality. 


MANUFACTURED  BY  THE 

Hammer  Dry  Plate  Co., 

SOLD  BY  ALL  DEALERS.  ST.  LOUIS,  MO. 


Ask  for  prices  on  HAMMER’S  Plates. 


xi 


Photo-Engravers 

ts  -  - ■  .  1 

Purchasing  their  Apparatus  of  us 
J  can  obtain  complete  instruction  in 
m  the  “Halftone”  Process  at  the 
f  minimum  cost  of 

$50.00. 

The  instruction  is  given  in  our  own  labora¬ 
tories,  at  423  Broome  Street,  by  a  practical 
photo-engraver,  formerly  instructor  of  the 
Chautauqua  School  of  Photography, 

W.  G.  Todd. 

We  have  a  new  and  very  complete  illus¬ 
trated  catalogue  devoted  exclusively  to  photo- 
engravers’  apparatus  and  supplies,  which  we 
are  always  pleased  to  send  to  any  address, 
postpaid,  on  application. 

We  also  have  a  complete  line  of  photo¬ 
engravers’  requisites  on  exhibition  at  our  sales¬ 
rooms  which  we  take  pleasure  in  showing  to 
interested  parties.  Correspondence  is  solicited. 

The  Scovill  &  Adams  Co.  of  N.Y. 

PHOTO-ENGRAVING  DEPARTMENT, 

423  Broome  Street,  New  York. 


